New York - More Prints

This photo-lithographic poster was printed at the Atelier Mourlot in Paris in 1982 with the permission of the Matisse estate to promote the works by Henri Matisse at the Galerie Dina...

Original screen print/serigraph with colors by the well known American artist, Sister Mary Corita Kent. Signed in pencil lower right “Corita”. Edition 200 AP (Artist Proof) inscribe...

Secret Writing / Poe Tighe O’Donoghue, American (1942–2023) Date: Circa 1985 Aquatint Etching, signed and numbered in pencil Edition of 99 Image Size: 1...

Robert Indiana, After, American (1928 - 2018) - The American Love, Medium: Print on Acrylic panel, Size: 14 x 13.5 in. (35.56 x 34.29 cm), Frame Size: 22 x 21.75 inches

Sylvia Plimack Mangold Six Inches Four Ways 1976 Rubber stamp print on Kilmurray paper Stamp made by Unity Engraving Company, Inc. Printed by A. Colish Press Paper size: 8 x 8 inches...

Jasper Johns Jasper Johns at Leo Castelli (Hand signed and inscribed), 1976 Offset lithograph poster (hand signed and warmly inscribed by Jasper Johns) Signed and inscribed "for Cord...

Three-color solar plate intaglio on Somerset paper (Edition of 75 + 15 APs) Signed, dated, and numbered in pencil, recto 30 x 22 inches, sheet 16 x 10.75 inches, image This artwork...

Artist: Robert Indiana, American (1928 - 2018) Title: Die Deutsche Liebe (The German LOVE) from the American Dream Portfolio Year: 1968 (1997) Medium: Silkscreen on Wove Paper Editio...

Frank Benson made this drypoint in 1928. The second state of two. A scarce print with no recorded printings of the second state - presumably, at least two were printed. The image size is 4 7/8 x 5 7/8" (12.4 x 14.9 cm). #282 in the Frank W. Benson catalogue raisonne by Adam Paff. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

This Eduardo Paolozzi screenprint is composed with primary colors and black and white photographic imagery “collaged” in. Stripes and curvilinear forms merge in a vibrant exemplar of...

The Ninth Hour Clarence Holbrook Carter American (1904–2000) Date: 1978 Screenprint, signed and numbered in pencil Edition of 200, AP 30 Size: 40 in. x 26 in. (101.6 cm x 66.04 cm)

Engraving printed in black ink on hand-made, thin-laid paper, 3 5/8 x 3 5/8 inches (84 x 84 mm), 3/4 inch margins. In excellent condition, printed 19th century.

This 1927 etching by Frank W. Benson is entitled Winter Wildfowling. Printed in an edition of 150 this impression is signed in pencil, lower left. The image size 11 7/8 x 9 7/8" (30 x 24.8 cm) and sheet size 15 1/16 x 12 5/8" (38.3 x 32 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Original exhibition poster printed on the occasion of Jim Dine's 1971 exhibition at Kunsthalle Bern, featuring Saw, 1971. Against a sea of electric blue, Dine has written “saw” in lo...

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...

SAM FRANCIS Affiche Moderna Museet Stockholm (Catalogue Raisonne Lembark-16, p.66), 1960 Color lithograph on Rives BFK Paper with deckled edges Pencil signed lower right of center; n...

Artist: John Cedarstrom Title: Water Lily Flower Year: circa 1980 Medium: Screenprint, signed in pencil Edition: AP Paper Size: 23 x 31.5 inches

Sightseeing is one of a group of ten prints which the artist made at Petersburg Press in 1972, each based on one of his paintings. Rosenquist’s Sightseeing 1962 oil painting on canva...

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

Colette (aka Colette Justine), Tunisian/American (1952 - ) - Pink Kool Aid, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: ...

Another example of this iconic Frank Stella print can be found at the Poster House Museum in Manhattan. For inspiration only are photographs from their display. "The concentric squ...

Artist: Robert Indiana, American (1928 - 2018) Title: Number 7 from the American Dream Portfolio Year: 1968 (1997) Medium: Screenprint on Wove Paper Edition Size: 395 Image Size: 16....

This rare and beautiful lithographic poster was created for an exhibition of René Magritte's work at the Museum of Modern Art in New York in 1965. The painting was reproduced by the Mourlot Studio famous Master Printer Henri Deschamps and supervised by the artist. It was based on Magritte's painting L'idole from 1965. The exhibition featured 81 works created between 1926-1965 and was attended by the artist. The exhibition also travelled to the Rose Art Museum, the Art Institute of Chicago, the University of California Berkeley...

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

A print from an Original drawing by Denis Meyers - Artists proof from an edition of 30. The print on paper features some of Denis Meyers "Word" patterns. ...

This lithographic poster was printed in 1966 at the Atelier Mourlot in Paris to promote an exhibition of Leger's works at the Musée Cantini in Marseille in the summer of 1966. Leger ...

Peter Halley, Jablonka Galerie, Köln (Hand Signed), 1993 Offset lithograph poster (hand signed by Peter Halley) 26 1/2 × 26 1/2 inches Unframed Alpha 137 Gallery is honored to offer ...

Vertical lines in muted colors take on the organic quality of handmade paper, resulting in this subtle iteration of Gene Davis’ iconic color field stripe paintings. The title "Narcis...

Antonio Frasconi created the color woodcut entitled "View of Venice II – Bacino" in 1968. It is signed, titled, dated, and inscribed “13/18” in pencil. The paper size is 24 x 36 inch...

Claire Seidl Description Without Place (Hand Signed), 1986 Lithograph and silkscreen. Hand signed, dated and numbered from the edition of 65 by the artist. 28 × 38 1/2 inches Unfram...

Takashi Murakami Record Art 2018 (Takashi Murakami Kanye West Kid Cudi): This Takashi Murakami designed cover & record album is for Kids See Ghosts and is the only studio album by t...

KIMBER SMITH Untitled Abstract Expressionist Geometric Abstraction, 1967 Lithograph on Rives paper 25 × 19 3/5 inches Signed in silver...

Lithograph on paper (Edition of 25) Signed in pencil, l.r. Numbered in pencil, l.l. This print is offered by ClampArt, located in New York City. Joan Brossa (1919-1998) was a Cata...

This original, vintage poster on poster stock features one of Jim Dine's most iconic motifs: the bathrobe. In 1964, Dine saw an ad in the New York Times: “The ad shows a robe with the man airbrushed out of it. There was nobody in the bathrobe, but when I saw it, it looked like me.” Standing in for the artist's own body and rife with personal meaning, it provides a framework for limitless formal and stylistic experimentation. Here, the garment is colored bright green and defined by variegated black lines. Numbers label each part of the robe as in an anatomical chart. Bold black lettering reads Jim Dine, Petersburg Press...

This vibrant original poster by Henri Matisse was published by the French Tourism Office to promote tourism in the South of France. Printed by the renowned Atelier Mourlot, it captur...

Peter Halley Peter Halley, Imago Galleries, Palm Desert, CA (Hand Signed), 2006 Offset lithograph poster (hand signed by Peter Halley) 25 1/2 × 18 1/4 inches Provenance; Acquired directly from the artist Unframed Alpha 137 Gallery is honored to offer this offset lithograph, published on the occasion of legendary American artist Peter Halley's 2006 one-man exhibition at Imago Galleries, Palm Desert, California which the artist hand signed in black marker. Scroll images for a photograph of our director Nadine Witkin with the artist. Below is Peter Halley's official biography. What it doesn't mention is that Andy Warhol famously painted his portrait in 1986! Peter Halley is that legendary. According to Halley, he didn't realize until after Warhol's death that the polaroids Warhol took of him with his famous "big shot" camera were made into an original painting. Warhol's painting of Peter Halley was included in the recent Andy Warhol retrospective "Andy Warhol - from A to B and Back Again" at the Whitney. PETER HALLEY BIOGRAPHY Peter Halley, born 1953, New York City, is an American artist who came to prominence as a central figure of the Neo-Conceptualist movement of the 1980s. His paintings redeploy the language of geometric abstraction to explore the organization of social space in the digital era. Since the 1980s, Halley’s lexicon has included three elements: “prisons” and “cells,” connected by “conduits,” which are used in his paintings to explore the technologically determined space and pathways that regulate daily life. Using fluorescent color and Roll-a-Tex, a commercial paint additive that provides readymade texture, Halley embraces materials that are anti-naturalistic and commercially manufactured. In the mid 1990s Halley pioneered the use of wall-sized digital prints in his site-specific installations. He has executed installations at Museo Nivola, Orani, Sardinia (2021); Greene Naftali, New York (2019); Venice Biennale (2019); Lever House, New York (2018); Schirn Kunsthalle, Frankfurt (2016); Disjecta, Portland (2012); the Gallatin School, New York University, (2008, 2017); the Museum of Modern Art, New York (1997); and the Dallas Museum of Art (1995). In 2005, Halley was also commissioned to create a monumental painting for Terminal D at the Dallas/Fort Worth International Airport, Texas. Halley served as professor and director of the MFA painting program at the Yale School of Art from 2002 to 2011. From 1996 to 2005, Halley published INDEX Magazine, which featured interviews with figures working in a variety of creative fields. Halley is also known for his essays on art and culture, written in the 1980s and 1990s, in which he explores themes from French critical theory and the impact of burgeoning digital technology. His Selected Essays, 1981 – 2001, was published by Edgewise Press, New York, in 2013.Halley’s writings have been translated into Spanish, French, and Italian. A catalogue raisonné, PETER HALLEY: Paintings of the 1980s, was published in 2018 by JRP Ringier. Halley’s work can be found in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Broad Art Foundation, Los Angeles; Museum of Contemporary Art, Los Angeles; San Francisco Museum of Modern Art; Boston Museum of Fine Arts; Dallas Museum of Art; Albright-Knox Art Gallery, Buffalo; Tate Modern, London; Stedelijk Museum, Amsterdam; Sammlung Marx, Berlin; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museum of Contemporary Art, Tokyo; Seoul Museum of Art, among others. More about Peter Halley Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Edition 52/325 of Glenn Ligon's My Fear is Your Fear. Showing at The Queer Show Part II.

Damien Hirst’s ‘Suiko’ is laminated giclée print on aluminum composite panel with glitter, and is one in a series of five mesmerizing prints in ‘The Empresses’ series. ‘Suiko’ is tit...

Artist: Robert Indiana, American (1928 - 2018) Title: New Glory Banner from the American Dream Portfolio Year: 1963 (1997) Medium: Serigraph Edition: 395 Image Size: 17 x 10 inches S...

Printed on high gloss paper, mounted to acid free foamcore Edition of 2 of 10 Three sizes 12x12 16x16 20x20 Made to Order Comes with Certificate of Authenticity Elusive New York ...

Exhibition Poster: The Kutztown Connection 1984 Keith Haring (After), American (1958–1990) Date: 1984 Poster on wove paper, signed and dated in the plate, signed in pencil Size: 33 x...

Colette (aka Colette Justine), Tunisian/American (1952 - ) - In Memory of Ophelia, Year: 1976, Medium: Lithograph, signed and numbered in pencil, Edi...

Silhouetted by the night sky, a brimmed hat perches on its stand, hovering above red-speckled ground like an aircraft. The moon shines bright white, and subtle clouds gather at the h...

Kynance Cove which is part of the ’Coast Paintings’ series. Created in 2019, ’Coast Paintings’ are colourful action paintings which convey the energy, excitement and change experienc...

H 8 x W 4.25 in. (image size) Signed lower left Notes: Cat. Raisonné, Rosenbach 25. From the edition of a 100 Provenance Private Collection, New York City This work is available f...

Made for an exhibition of artist Pierre Soulages works at the Musee Des Arts Decoratifs (museum of decorative arts and design) at the Palais du Louvre in Paris, 1960. The original im...

Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...

Vibrant magenta, yellow, orange, brown, purple, lime green, jungle green, dark green, cerulean, and sky-blue lines take on the organic quality of handmade paper, resulting in this su...

Tighe O'Donoghue's detailed depiction of a flower is highly reminiscent of anatomical drawings and mathematical studies due to the careful linework, detailed shading, and soft colors...

"Israel Rubinstein (1944 - ) Date: 1980 Screenprint on Arches, signed and numbered in pencil Edition of 350 Image Size: 25 x 37.5 inches Size: 27.5 x 39 in. (69.85 x 99.06 cm)"

UNION POND, WILLIAMSBURGH, L. I. [sic] is a lithograph printed in color in circa 1862. It was published by Thomas & Eno, 37 Park Row, N.Y. The printed image size is 16 3/4 x 27 in...

Tim Engelland (American, 1950-2012) Untitled, 1989 Woodcut 11 x 8 1/2 in. Signed and dated lower right Numbered lower left 29/250 A lifelong artist, Engelland specialized in oil po...

This colorful abstract original lithograph was printed in 1967 at the Atelier Mourlot in NYC. When The Mourlot Studio decided to open a branch in New York City, after a successful ex...

James Siena at PACE Gallery, 2019 Offset lithograph exhibition invitation (Hand signed by James Siena) 19 1/2 × 14 1/2 inches Unframed This exquisite fold...

Rainbow shades shine in delicate clusters of vertical lines, in this abstract, geometric lithograph. Vibrant yellow, green, magenta pink, blue and brown take on the organic quality o...

The drypoint created in 1920 is a working state, the fourth of eight. The eight states are listed in the Frank W. Benson catalogue raisonne by Adam Paff #184. There are two recorded impressions of this print making it a rare find. It is signed in pencil and inscribed "D-2." The Image size 4 3/8 x 5 13/16" (11.1 x 14.8 cm). The final printed edition of "Three Yellowlegs" was 150. Frank Weston Benson (1862-1951), well known for his American impressionist paintings, produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. While a teenager his fascination with drawing and birding developed simultaneously and continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Artist: James McMullan, Irish-Canadian (1934 - ) Title: Head Out To OZ Year: 1967 Medium: Poster Size: 28 x 18 in. (71.12 x 45.72 cm)

From the "Free South Africa" series 1985. Lithograph in colors on BFK Rives paper. Signed in pencil and numbered from the numbered edition of 60 piec...

The Woodstock Poster was originally commissioned by the Woodstock Book Shop and Woodstock Chamber of Commerce. It was subsequently purchased from the ...