New York - More Prints

A large vintage heraldic shield with crown print showing intricate details. The print is matted and framed in a custom gilt wood frame. Dimensions: 4...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

Richard Anuszkiewicz New York City Opera, 1968 Silkscreen poster 35 x 25 inches Unsigned Anuszkiewicz created this poster, which was part of "Seve...

Hand signed by the artist vertically and numbered lower left in pencil. Printer's chop mark, lower right. Published to commemorate the 100th anniversary of the Brooklyn Bridge. Print...

This signed and numbered limited edition print was commissioned by Lincoln Center for the Performing Arts in 2012. This impression has never been framed and is in excellent condition...

Visual poems, the works in Vicuña’s 'PALABRARmas' series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña...

This archival pigment print on Canson paper comes directly from the publisher, Lincoln Center Editions. It is signed and numbered en verso by the artist. It is in excellent condition and has never been framed. Note: The image of the framed print is for reference purposes only. Carrie Mae Weems (b. 1953) is an American artist whose extensive body of work investigates cultural identity, sexism, class, political systems, and the consequences of power. Weems is widely recognized for her revolutionary approach to the expression of narratives about women, people of color and working-class communities, “conjuring lush art...

James Siena Untitled geometric abstraction (The Christmas Print), 2006 3-Color etching on paper with deckled edges Signed, dated and numbered 8/54 in graphite pencil on the front Fra...

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...

Sidney Janis Gallery, Jean-Michel Basquiat, CRASH (John "Crash" Matos), A1One, Chris DAZE Ellis, Daze, Keith Haring, Rammellzee, TOXIC, Kenny Scharf, Lee Quiñones, Lady Pink, Futura & others Rare Sidney Janis Gallery poster for American Graffiti show Abstract Prints, 1983 Silkscreen Poster on glossy paper 36 × 24 inches Unframed Very rare and highly collectible vintage poster...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

The Book of Love Poem - LOVE: Enflame. Robert Indiana American (1928–2018) Date: 1996 Screenprint with Letterpress, Signed and numbered in pencil Edition of 200, PP 10 Size: 24 in....

P o th A a Vfb (Portrait of the Artist as Vogelfutterbüste) 1970 Plate 12.4 x 8.6 in. / 31.5 x 22 cm / Paper 30.7 x 21 in. / 78 x 53.5 cm Intaglio printing (halftone block) in black ...

This print has a deep blue background and brightly colored red and orange billiards balls. John Gibson has been painting delicate still-life arrangements of balls since the 1990s. T...

Tighe O'Donoghue's colorful depiction of an anemone withstanding a rainstorm retains the same mystical and anatomical elements as much of his other work while generating a calm and s...

Artist: Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Woman Seated Beside a Stove (B197), Year: 1878 (of original 1658), Medium: Heliogravure, Size: 9 x 7.25 in...

“LA CASITA AZUL” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casita Azul” circa 1970. The image size is 21.50 x 31.25 inches and the paper size 23.13 x 33 inches. Printed in an edition of 100 this impression is inscribed “91/100” - the 54th impression of 100. Pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Peter Halley Musee d'Art Contemporain Pully/Lausanne (Hand Signed), 1992 Offset lithograph poster (hand signed by Peter Halley) 11 1/2 × 16 1/2 inches Unframed Hand signed in black ...

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...

Louisa Chase’s paintings are romantic in tone, alluding to the power of nature while serving as pictorial metaphors for her own state of mind. Drawing on her distinctive brand of Neo...

This humorous black and white Jim Dine etching features what is ostensibly the imprint of an inked stomach. Around the print, black marks, scribbles, and dots complement the text written at the top of the sheet: “Imprint from Dorian Gray...

This shimmering, metallic vintage poster with rainbow text and layers of texture must be seen in person to appreciate Frank Stella's masterful design. Original exhibition poster for Frank Stella’s Metal Reliefs exhibition at the Addison Gallery...

Emilio Sanchez (1921-1999) created this lithograph entitled “LOS TOLDOS” in 1973. This impression is signed, titled, and inscribed “21/50” in pencil. The printed Image size is 22.13...

NORMAN ROCKWELL (1894-1978) - The Freedom from want - [from the series THE FOUR FREEDOMS.] 1943. 40x28 1/4inches, 101 1/2x71 3/4 cm. World War II poster U.S. Government Printing Of...

Abbey Gilbert is a photographer based in New York City. As she navigates through her personal exploration of lesbian sexual chemistry, Abbey Gilbert examines the ambiguous space betw...

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...

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...

Pablo Picasso (after) "Picasso Linocuts 1958-1963" Museum of Fine Arts, Boston, 1969 Exhibition poster 28 x 20 inches Unsigned

Pictured in this monochromatic Jim Dine lithograph is Basil Hallward, the artist companion of Dorian Gray in Oscar Wilde's novel The Picture of Dorian Gray...

"Israel Rubinstein (1944 - ) Date: 1980 Screenprint on Arches, signed and numbered in pencil Edition of 350 Image Size: 38.5 x 28.5 inches Size: 47 x 38 in. (119.38 x 96.52 cm)"

This vibrant image is a stellar example of Denzil Forrester’s depictions of dub and reggae clubs – a subject that has been central to his practice since the late 1970's. "I’m interes...

Robert Indianna (American, 1928-2018) 4 Americans in Paris, 1970 Screenprint Framed: 46 1/4 x 23 x 3/4 in. Signed in the plate: (c) R Indiana 1970 Published by American Image, distr...

Melissa Meyer Love Me Tender, 2003 Color etching on wove paper Pencil signed and numbered from the edition of 30 on the front 27 inches × 25 inches Edit...

Bernard Séjourné Chateau Mouton Rothschild Wine Label (Hand Signed & Inscribed), 1989 Wine Label Print Signed “To John A. Powers, Chairman, To my dea...

Abstract, large scale earth toned red, black, taupe and grey scene with dynamic lines, shapes and hand painted brushstroke texture. This dramatic Howard Hodgkin work is ideal for dis...

This work is a study for Inverted Q, a large sculpture that Oldenburg created after producing many sketches and small models. At the time he was experimenting with concepts of monume...

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

LESLEY DILL SMALL POEM DRESS, 1993 lithograph on Hindi newsprint 10 x 3 x 2 in. 25.4 x 7.6 x 5.1 cm. edition of 10 image may be slightly different. Please request exact image if int...

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Offset Lithograph and lithograph Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame includ...

Claes Oldenburg (after) Stars : A Farce for Objects (Cat. Raisonne Ref: 29, Axsom & Platzker, 1997), 1963 Letterpress poster in 1 colour over stock offset lithograph "rainbow roll" in 3 colours on paper, mounted on wood board Unsigned and unnumbered, as issued Published in an unknown edition size 28 × 22 inches x 1 inch Published by Washington Gallery of Modern Art; Printed by Globe Poster...

Poem III Joan Miro, Spanish (1893–1983) Date: 1947 Etching and Aquatint on laid paper, signed in the plate Image Size: 10 x 6.75 inches Size: 15 x 11.25 in. (38.1 x 28.58 cm) Printer...

From the portfolio "The Four Seasons" depicted the four seasons with text and flowers, this print by Pop artist Paula Scher uses a simple, collage-like style to create its compositio...

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...

This is an original Lithograph by Paul Delvaux printed by the Atelier Mourlot in Paris. It is annotated "Epreuve d'Exposition" bottom left of the image and dated "3-68" in the plate,...

A 1853 Broadside advertising a large reward for the apprehension of accused murderer John Hide of Harrison County, Texas. Broadside poster printed in black ink on cream-colored wove...

Leonor Fini The Seduction, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Surrealist composition, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini The Art lover, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Fantastical character, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Fantastical character, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Surrealist composition, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Surrealist composition, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Dancer, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Infelicia, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Surrealist composition, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Surrealist composition, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185

Leonor Fini Pioneer, 1975 Colored etching on Arches paper 11 × 15 in 28 × 38 cm Limited edition of 185