New York - Figurative Prints

James Penney was widely known for his New Yorker covers as well as his paintings and prints. Penney was from Saint Joseph, Missouri. He trained in NYC at the Art Students League. The New-York Historical Society and the Library of Congress both have collections of his work. Signed, titled, and dated. Especially like the test marks at the lower right and the way the lawyer is leaning/relaxing on the judge...

Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), trimmed inside the platemark. Scattered discoloration and uniform age tone, all consistent wit...

Artist: Salvador Dali Title: Behold his bed from The Song of Songs of King Solomon from the Portfolio Song of Songs of Solomon Year: 1972 Medium: Color Etching with Gold Dust on Arch...

“Reflection” is a wonderful original Art Deco lithograph created by a famous Russian-born French artist Erté (Romain de Tirtoff). Image size (including signature): 23 x 17 in. Framed Size: 31 x 25 in. Edition 239/300. The artwork is framed. Signed by the artist on the bottom right corner. It is in excellent condition. Known as the “Father of Art Deco,” he created elegant decorative images that are timeless in their beauty and sophistication. Clean lines of his glamorous and evocative works resemble the geometry of Classical Greek pottery and Japanese art of woodblock prints. Erté’s artworks...

Judy Chicago In Praise of Prairie Dogs (19-325), 2019 11 Color Lithograph on light blue Pescia paper Hand signed, dated and numbered from the limited edition of 95 on the front 22 × ...

David Driesbach studied at the University of Illinois in 1940 and 41. In 1942 he enlisted in the Marines and served until 1945. His artistic education ...

Homage Giancarlo Impiglia, Italian/American (1940) Date: 1984 Screenprint, signed and numbered in pencil Edition of 161/250 Size: 31.5 x 21.5 in. (80.01 x 54.61 cm) Frame Size: 40 x ...

Robert Anderson, American (1945 - 2010) - Dreams of a Dusty Attic, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP, Image Size: 25.5 x 20 inches, ...

Raymond Pettibon Black Flag poster circa 1983: Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic l...

Watch Us: Together We Can Do It, II 2020 by Chin Chih Yang is a signed limited edition print on archival paper: 29/75 - edition number, date of creation, and artist's signature on re...

Robin Morris, American (1953 - ) - Maestro, Medium: Screenprint on Arches, signed and numbered in pencil, artist blind stamp lower right, Edition: 13/100, Image Size: 35 x 25 inches,...

Artist: Alex Katz, American (1927 - ) Title: Night: William Dunas Dance 1 (Pamela) Year: 1983 Medium: Lithograph on Arches, signed and numbered in pencil Edition: 100, 42 AP Size: 25...

(after) Andy Warhol Campbell's Soup Can Poster, 1993 Offset Lithograph Poster on thin board. Unframed. Authorized by the Andy Warhol Foundation of the Visual Arts, Inc. 30 × 23 1/4 i...

Shepard Fairey Jasper Johns (White), 2009 Silkscreen on wove paper 24 × 18 inches Edition 198/450 Pencil signed and numbered 198/450 on the front Unframed Shepard Fairey created this...

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 8 x 11 1/4 inches (203 x 282 mm), thread margins. Scattered expert repairs including minor pu...

KERRY JAMES MARSHALL Set of Six (Six) Scout Series Embroidered Patches, 2017 Rayon thread on poly twill backed embroidered patches, set of six. Brand new in original packaging. Large...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Hamburg: Lippmann, 1895. Copperplate engraving on cream wove paper with a deckle edge, 10 1/8 x 13 1/2 inches (256 x 342 mm), full margins. In generally good condition with some lig...

Etching on cream laid paper, full margins. Trimmed at the plate mark. Scattered light caramel colored areas of discoloration in the sheet corners, light skinning on the verso at the ...

Artist: Jose Luis Cuevas, Mexican (1934 - 2017) Title: Las Victimas Year: 1989 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 50 Paper Size: 52 in. x 35 in. (1...

Artist: Denis Paul Noyer, French (1940 - ) Title: Ledoyen Yea: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 133/180 Size: 35 in. x 25 in. (88.9 cm x 63.5 cm)...

Manfred Schwartz (American, b. Poland, 1909-1970), Medrano Clown with Flower, Lithograph on Paper, circa 1955, marked "artist's proof" lower left, signed in pencil and with the artis...

Etching on thick, hand made laid paper, 8 1/8 × 5 13/16 inches (206 × 148 mm), full margins. Scattered light age tone surface soiling, dog-eared corners, and minor edge nicks. An imp...

In 1991 Harry Sternberg published a book with Brighton Press, San Diego. It was My Life in Woodcuts. At the time it was the only known woodcut autobiography. The deluxe editions of...

#5-2957 Engraving of three dancing Abstract Putti in a forest scene signed E Andrews 30/100 Image size 10 H x 5.5 W

Martha Reed was the daughter of the artist Doel Reed and as an adult she joined her parents in Taos, New Mexico. There she designed clothes with a south-we...

Twin Sisters Erté, Russian (1892–1990) Date: 1982 Screenprint, signed and numbered in pencil Edition of 350, AP Size: 36 x 48 in. (91.44 x 121.92 cm)

Etching with engraving and drypoint printed in brownish black ink on cream laid paper with a partial heraldic A and fleur-de-lis watermark, 5 5/8 x 4 1/4 inches ( 341 x 107 mm), full...

Signed and Numbered Limited Edition Silkscreen Print on 300gsm weight Claro Silk Paper Framed: 110 x 110 cm 43 1/4 x 43 1/4 in. Edition of 50 (#22/50) ----------- Deborah Azzopardi...

London: T. Spilsbury & Son, 1790. Engraving on light-weight wove paper, 3 3/4 x 5 3/4 inches (950 x 145 mm), full margins at top and sides of sheet, lower portion of sheet trimmed. ...

Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...

Artist: Gianni Bertini, Italian (1922 - 2010) Title: Bambole Year: 2002 Medium: Serigraph, signed and numbered in pencil Edition: 71/75 Paper Size: 42 x...

Guillermo Silva Santamaria, Colombian (1922 -2007) - Los Justos, Year: circa 1963, Medium: Aquatint and Intaglio, Edition: C/A VI, Image Size: 7 x 13 inches, Size: 12.75 x 19 in...

A limited edition screenprint poster Keith Haring designed for Playboy. This limited edition run of 1000 was published in 1990 by Special Editions Ltd. The signature and date 'K. Har...

William Waitzman July (from the Memorial Sloan Kettering Art Collection), 2016 Hand made color silkscreen on wove paper Pencil signed and numbered 6/14 on the front Frame included: M...

The Grand Coronation Banquet of King George IV at Westminster Hall, the oldest building on the Parliamentary estate. A Prospect of the Inside of Westminster Hall; The Grand Coronati...

Dujardin, Karel. Frontispiece with stepped fountain; a stone wall with water spout pouring water into a rectilinear basin, from which a second spout pour...

Drypoint etching and aquatint in sepia on cream wove paper, 10 x 8 inches (254 x 201 mm), full margins. Signed in pencil, lower left. Minor toning with evidence of very minor moistur...

Sitting in an armchair, the woman with a heart-shaped torso is rendered with simple rectangular shapes outlined by cobalt blue and bright yellow. Set against a soft pastel background...

Billy Name Viva, Susan Bottomly and Ultra Violet at the Factory, (exhibited at "Andy Warhol: A Factory", The Guggenheim Museum, NY and Bilbao, with exhibition labels), 1968 Gelatin silver print (printed in 1996) Hand signed by Billy Name on the front; bears the original exhibition labels from the Guggenheim Museum and Guggenheim Bilbao on the back. Frame included This very work was included in the exhibition: "Andy Warhol: A Factory" at the Guggenheim Museum in New York. October 19, 1999–January 16, 2000 and the Guggenheim Museum in Bilbao, Spain, Organized by the Solomon R. Guggenheim Museum, New York, and the Kunstmuseum Wolfsburg, Germany. It bears labels on the back from The Guggenheim Museum and Guggenheim Bilbao Literature: Reproduced in the catalogue Andy Warhol: a factory, by Germano Celant, published on the occasion of the exhibition Andy Warhol: A Factory, organized by the Solomon R. Guggenheim Museum in New York in collaboration with the Kunstmuseum Wolfsburg, at the Palais des Beaux-Arts de Bruxelles, June 1 - September 10, 1999, reproduced on page 329 Measurements: Framed: 15 inches vertical by 19 inches by 1.5 inches Photograph: 9.25 inches by 13.5 inches Provenance Originally lent by the artist for the exhibition Below is more information about the photographer, Billy name, and the three Warhol superstars featured in this silver gelatin print: Unnumbered (unknown edition) BILLY NAME (Photographer) William George Linich (February 22, 1940 – July 18, 2016), known professionally as Billy Name, was an American photographer, filmmaker, and lighting designer. He was the archivist of The Factory from 1964 to 1970. His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol's work, including his films, paintings, and sculptures. Linich became Billy Name among the clique known as the Warhol superstars. He was responsible for "silverizing" Warhol's New York studio, the Factory, where he lived until 1970. His photographs of the scene at the Factory and of Warhol are important documents of the pop art era VIVA Janet Susan Mary Hoffmann (born August 23, 1938), known professionally as Viva, is an American actress, writer and former Warhol superstar. She was given the name Viva by Andy Warhol before the release of her first film but later used her married last name (Auder). She appeared in several of Warhol's films and was a frequent guest at the Factory. Viva was on the phone with Andy Warhol when he was shot by Valerie Solanas in 1968 Susan Bottomly (aks International Velvet...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

Jim Dine Gilbert & Sullivan, 1968 Color Silkscreen on wove paper 35 × 25 inches Edition 6/144 Hand-signed by artist, signed, dated and numbered 6/144 lower left New York City Center ...

Rare coveted silkscreen in museum quality frame: Allen Jones Red Feat (Lloyd, 73), 1976 Lithograph on Arches paper Hand signed, dated and numbered 49/60 in pencil recto, with Landfal...

Saul Raskin's Cry of Union Square, has all my favorite things: a view of Union Square with S. Klein's department store on the right and a Chop Suey restaurant on the left. There's a ...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Bird's eye view of the old buildings in West Cheap (Cheapside) as they appeared in 1585, from Londina Illustrata. London: Robert Wilkinson, 1814 Engraving on buff wove paper, 11 ...

London: T. Bensley for R. Bowyer, 1810 Hand-colored aquatint on cream wove paper, 9 x 12 3/8 inches (227 x 318 mm), full margins. Scattered light toning and a spray of light spots o...

Stone Head Horst Antes, German (1936) Portfolio: Omaggio a Michelangelo Date: 1975 Offset Lithograph, signature in the printing Image Size: 11 x 9.5 inches Size: 15 x 10.5 in. (38.1 ...

Vito Acconci Thou Shalt Not Commit Adultery (The Seventh Commandment), 1987 3 Color Lithograph with Collage with Rives paper Hand signed and numbered AP 2/15 on the front Also bears ...

Vladimir Szabo (Hungarian 1905-1991), " Untitled: Dancing Nudes", Figurative Lithograph, 15 x 23.75, Late 20th Century Colors: Black and White A pupil o...

Al Hirschfeld A & E Biography 10th Anniversary, ca. 1994 Lithograph on Arches cover paper Signed and numbered 173/400 in graphite pencil on the front 19 × 15 inches Unframed This undated print was published on the occasion the 10th Anniversary of A & E's (the Arts & Entertainment network) acclaimed "Biography" documentary series. It is hand signed and numbered 173/400 by the legendary Al Hirschfeld. This lithograph depicts Marilyn Monroe, Muhammad Ali, Leonardo Da Vinci, New York's Governor Nelson Rockefeller, President Ronald Reagan, F. Scott Fitzgerald, General George C. Patton, Jacqueline Kennedy Onassis, Peter...

A couple seen in the hills of Greenwich with the Thames and London in the distrance. London: 1835. Lithograph with hand coloring in watercolor on heavy wove paper, 13 x 18 1/4 inch...

Jeff Koons Lavishly illustrated 592 page monograph (hand signed by Jeff Koons), 2009 Hardback monograph with dust jacket (hand signed by Jeff Koons) Boldly signed and dated 12/1/14 o...

Japan: circa 1770. Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining...

Arnold Iger Lily (Readers Digest Association Art Collection), 1988 Intaglio (Hand Signed, Dated, Titled, Numbered & Framed) Signed in pencil lower right recto Numbered "77/350" on lo...

1990s Keith Haring exhibition poster: Original Exhibition poster for Keith Haring at San Francisco Museum of Modern Art, May 08-September 08, 1998; an exhibit which featured a complete retrospective of Haring's work, from his childhood doodles and early New York subway drawings to large-scale paintings during his final years. Off-set lithograph on heavy wove paper. 24 x 36 inches. Unsigned from an edition of unknown. Bright, vibrant colors. Some minor signs of handling; otherwise very good overall. Contains trademark of Haring Estate on lower center edge. Further Background: Image featured in this poster is Haring's, "Drawing for Headstand 1988. De Young Museum's regarding Haring's symbolism here: "Human figures depicted upside-down are usually B-boys and B-girls, the dancers of hip-hop, doing the iconic move in which they spin on their head. Figures contorting in backbends or jumps are probably also depictions of break dancers." Haring’s work has long been a part of San Francisco’s visual culture. He created works for diverse venues in San Francisco during his lifetime, including murals for DV8, a club once located in the South of Market neighborhood, and a huge, multi-panel painting for the South of Market Childcare Center (also known as the Saint Patrick's Daycare Center). Haring’s outdoor sculpture Untitled (Three Dancing Figures) (1989), located at Third and Howard Streets, is a prominent feature of Moscone Convention Center, and his triptych altarpiece The Life of Christ (1990) is installed in the AIDS Chapel at Grace Cathedral...

Wayne Ensrud, American (1934 - ) - Homage to Degas I, Year: 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 35, Size: 30 in. x 22 in. (76.2 cm x 55.88 c...

Reuven Rubin, Israeli (1893 - 1974) - V from Visions of the Bible, Year: 1972, Medium: Lithograph, signed and numbered in pencil, Edition: 83/150, Image Size: 25 x 18 inches, Siz...

Artist: Muhammad Ali, American (1942 - ) Title: Under the Sun Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 500 Size: 22 x 30 in. (55.88 x 76.2 cm) Frame: 36 ...

Marilyn Minter Merry Merry: Limited Edition Large Christmas Stickers, 2007 One oversized sheet of die-cut vinyl stickers which rolls up and ships in a tube with original tube from ar...