Offset Abstract Prints

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art...

Ed Ruscha EE-NUF! (hand signed by Ed Ruscha), 2020 Color lithographic poster on wove paper (hand signed by Ed Ruscha) Boldly signed by Ed Ruscha in black marker on the front 32 1/4 ×...

The Offs (first pressing), 1984 Vinyl Record and Offset Lithograph Album Cover 12 1/4 × 12 3/25 inches Unframed CD Presents, Ltd. – CD 025 Provenance Plastic Fantastic Records, Bryn ...

Historically scarce -- hand signed museum invitations by Lichtenstein from MoMA, where the artist attended himself, rarely surface, especially when framed and preserved at this level...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned U...

Takashi Murakami, Poppin’ Flowers, 2025 Offset Lithograph 23 3/5 × 23 3/5 in 60 × 60 cm Edition of 300 hand-signed and numbered

Keith Haring Rare Hiroshima Peace Celebration poster (hand signed by Keith Haring), from the Patrick Eddington Collection, 1988 Framed Original offset lithograph (Hand signed by Keit...

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed by Frank Stella) Fra...

Robert Indiana Original postmarked LOVE First Day Cover, with handwritten letter on the back (hand signed twice), 1973 Handwriten latter on the verso of postmarked First Day Cover (H...

Blue & Gray By Mark Rothko 2015 Medium: Offset Lithograph Paper Size: 39.5 x 27.5 inches ( 100 x 70 cm ) Image Size: 27.5 x 25 inches ( 70 x 64 cm ) Edition Size: 800

Pablo Picasso, After, Spanish (1881 - 1973) - Card Player, Year: 1972, Medium: Offset Lithograph, Image Size: 11.5 x 9.75 inches, Size: 16 x 12.5 in. (40.64 x 31.75 cm), Frame ...

Yellow, Blue, Orange (1955) By Mark Rothko 1988 Medium: Offset Lithograph Paper Size: 39 x 27.5 inches ( 99 x 70 cm ) Image Size: 27.5 x 18 inches ( 70 x 46 cm ) Edition Size: ...

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

Original Air France Grece vintage travel poster. Linen-backed original travel poster by Air France to Greece. Stylized Greek columns and the Parthenon in Athens, Greece sit on a mediterranean blue background. Very good condition, A- Ready to frame. Edges were trimmed at the time of linen backing. The creation of this poster was part of a larger series initiated by Pierre Sautet, the Deputy Commercial Director of Air France. Mathieu began working on these posters a year earlier and completed the series in 1967. Air France is France's flag carrier airline, one of the world's largest and most well-known airlines. Established in 1933, the airline has a rich history and has played a significant role in the development of international air travel. Air France often featured a distinctive style that reflected the cultural and artistic trends of the time. From the Art Deco elegance of the 1930s to the vibrant colors and bold designs of the 1960s, these posters represent the changing aesthetics over the decades. Due to their artistic quality and historical significance, Air France vintage posters...

Willem de Kooning Annual Spring Invitational Art Exhibition (limited edition, hand signed numbered by Willem de Kooning), 1979 Offset lithograph (hand signed and numbered) Sign...

Parapliers the Willow Dipped by Van Vliet, better known as Captain Beefheart from The Mothers of Invention, is part of the Collection of American Masters at the Nordfallen Museum in ...

Composition with Red, Blue, Black, Yellow, and Gray by Piet Mondrian was originally painted in 1921. This period falls within Mondrian's mature phase, where he refined his abstract s...

David Hockney Richard Strauss: Los Angeles Music Center Opera (Hand Signed and Inscribed), 1993 Offset Lithograph (hand signed and inscribed by David Hockney) 30 × 20 inches Signed a...

Colorful dots, lines and squares in bright blue, pink, green, lilac and yellow in wood grain form a totem against a lavender purple background. This jubilant take on Cubism features ...

David Hockney David Hockney - 60 Years of Work - Tate Britain original poster, 2017 Offset lithograph and digital print 24 × 16 1/2 inches Unframed, unsigned and unnumbered Provenanc...

"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum appear everywhere." - - David Hockney David Hockney Offset Lithograph poster (Deluxe Hand Signed Limited Edition) on Parsons Diploma Parchment Paper, accompanied by COA from the Publisher and Olympic Committee 36 × 24 inches Pencil signed and unnumbered from the Edition of 750 (there was a separate, larger unsigned edition) Unframed Also accompanied by gallery issued Certificate of Guarantee One of the most coveted, historic and popular David Hockney limited editions created - beloved by American and international collectors alike: The official edition of this work is 750, but the publisher famously destroyed unsold editions after the Olympic Games and only about 200-250 are said to remain. This hand signed limited edition iconic Hockney work was printed as one of the fifteen Official Fine Art Olympic Posters for the 1984 Olympic Games in Los Angeles. (the XXIII'rd Olympiad). It depicts an aerial view of a swimmer under rippling water broken up into 12 squares. A statement released by the 1984 Olympic committee explains the set as follows - "The posters commissioned for the 1984 Olympics contain an enlightened selection of the best American artists with special emphasis on those who work in Southern California...As the Games develop, transpire and pass into memory, these fifteen posters contain the images, forms and symbols that will represent the 1984 Olympics in the museums, galleries, homes and the minds of people all over the world.” This work is NOT to be confused with the ubiquitous plate signed poster of the same image, which was printed on different paper in an open edition.) In 1982, the Olympic Committee commissioned 15 artists to create posters for the 1984 Games in Los Angeles. Hockney designed this offset lithograph depicting Olympic swimming. It was printed on Parsons Diploma Parchment paper in 1982, in an edition of 750, hand signed in pencil by the artist. Even though this print was published in an edition of 750, after the first marketing blitz, the publisher destroyed the remaining portfolios of signed prints - literally discarding hundreds of them in the dumpster. The Olympic Committee commissioned these portfolios to celebrate and promote the 1984 Olympics, and nobody expected the individual prints to have such enduring value. As the executives running the short-term promotional campaign were neither prophets nor curators, they saw no reason to hold on to these huge prints...

Schmidt's 1923 poster for the Bauhaus Exhibition is celebrated for its innovative use of geometric forms and typographic elements, reflecting the school's avant-garde approach to des...

Abstraktes Bild, 1992 By Gerhard Richter 2023 6-color hybrid print on 260g Rives handmade paper 70 x 70 cm sheet 63.5 cm x 64 cm image Edition of 500. Unsigned, published by ...

This is a lifetime edition - hand signed and numbered by Jean-Michel Basquiat himself in Basquiat's lifetime. Many younger collectors don't appreciate the difference between the numerous posthumous estate authorized prints...

This poster reproduction of Alexei Jawlensky’s Crown of Thorns captures the artist’s bold Expressionist style and spiritual depth. The subject’s mask-like face, rendered in thick bru...

Louise Bourgeois I Have Been to Hell and Back Handkerchief, 2007 Embroidery on 100% Cotton Handkerchief With the artist's silkscreened initiala Han...

Untitled, 1969 By Mark Rothko 1998 Medium: Offset Lithograph Paper Size: 47.5 x 35.5 inches ( 121 x 90 cm ) Image Size: 41.25 x 32.25 inches ( 105 x 82 cm ) Edition Size: Unknown

1025 Colors (1025 Farben) By Gerhard Richter 2013 Medium: Offset Lithograph Paper Size: 48 x 46 inches ( 122 x 117 cm ) Image Size: 43.75 x 43.5 inches ( 111 x 110 cm ) Editio...

A large scale original vintage poster created for David Hockney's 1982 exhibition at the Australian National Gallery in Canberra, based on his original artwork, A Diver, Paper Pool 1...

Offset, 1972 Handsigned by the artist in pencil and numbered 123/150 Catalog : Weber & Danilowitz 29 60.50 cm. x 50.50 cm. 23.82 in. x 19.88 in. (paper) 38.00 cm. x 34.00 cm. 14.96...

Peter Beard The End of the Game (Hand Signed by Peter Beard), 1977 Offset Lithograph Poster (hand signed by Peter Beard and inscribed with a heart) Han...

Helen Frankenthaler (after) Frankenthaler: The Darker Palette (autographed and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed a...

Jambs is a vintage offset print after Antoni Tàpies, printed on hand made paper. The artwork is one of the deluxe edition of 1982 limited to 2.000 dedicated to Tapies' works. Signe...

Offset print with cold stamp Edition 39 of 300 60 x 60 cm (23.6 x 23.6 in) Signed and numbered on the front Mint. Minor imperfections may appear due to the production process

Ed Ruscha Chicago International Art Exposition (Hand Signed by Ed Ruscha), 1983 Offset Lithograph. Pencil Signed and dated. Unframed. Signed and dated by Ed Ruscha in graphite pencil...

Keith Haring Lithograph 1982: Double-sided lithographic insert from the seminal spiral bound, 1982 Tony Shafrazi catalog published on the occasion of Haring's first gallery solo exhi...

Composition Fond Bleu By Henri Matisse 1996 Medium: Offset Lithograph Paper Size: 39.25 x 27.5 inches ( 100 x 70 cm ) Image Size: 34.5 x 21.75 inches ( 88 x 55 cm ) Edition Si...

2014/2015 7 offset lithograph posters Each 70 x 50 cm Edition of 500 Each signed in pen by Tracey Emin Published by Emin International Unframed and in mint condition with the origina...

Ed Ruscha America Needs Hart (Hand Signed), 1983 Offset lithograph (Hand signed by Ed Ruscha) 36 inches (vertical) x 24 inches (horizontal) Boldly signed in marker by Ed Ruscha on th...

John Pasche Rolling Stones American Tour, original 1972 poster, 1972 Original vintage offset lithograph poster (this is the original poster, not a reprint 35 1/2 × 25 inches Unframed...

Jack Tworkov Art 1982 Chicago Navy Pier Poster, 1981 Limited Edition of 1500 Four color limited edition offset lithograph poster on 300 gram Dove 500 white a...

Edition of 300. Murakami signed and numbered in silver marker pen along the lower right edge. Offset lithograph with cold foil stamp and high gloss varnishing on UV paper 60 x 60 cm ...

Ed Ruscha WALKS TALKS FLIES SWIMS AND CRAWLS (Hand Signed by Ed Ruscha), 1992 Offset lithograph invitation card (hand signed) Vintage Robert Miller Gallery invitation card Boldly sig...

James Brooks James Brooks at Martha Jackson gallery (rare Abstract Expressionist poster), 1972 Offset Lithograph poster Unsigned, unnumbe...

Artist: (after) Lee Krasner (American, 1908-1984) Title: "Lee Krasner: A Retrospective - The Museum of Modern Art (Celebration)" *Signed and dated in the plate (printed signature) lo...

Limited edition Basquiat Gold Griot Skateboard Deck c. 2019: Rare limited edition Basquiat skateboard deck published by The Broad Museum Los Angeles in conjunction with the estate of...

Gerhard Richter Untitled Abstract Picture (one plate) - Artist Authorized, 2002 Limited Edition Artist Authorized Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition...

The Easy Dark poster for Julie Mehretu’s exhibition at the Louisiana Museum of Modern Art is a remarkable piece that embodies the energy and complexity of Mehretu’s work. Printed in ...

Poster Size: 23.5 x 16.5 in. Vintage Gold Leaf Frame Size: 23.5 x 16.5 in. Signed and inscribed in gold marker, bottom right A poster for "The Winter Ball 1988" in Houston, Texas, p...

James Rosenquist Castelli Gallery poster (hand signed and inscribed by the artist to the art dealer Richard Feigen), 1980 Offset lithograph poster Signed, dated and inscribed by Jame...

“Light is not so much something that reveals, as it is itself the revelation.” - James Turrell James Turrell Key Lime, Rare LACMA Exhibition print, 2013 Scarce Offset lithograph pos...

Robert Rauschenberg (1925-2008). "Arts for Act (1994)." Original offset lithograph poster created for the "Arts for Act." 1994. Signed in the plate (Bold Yellow), Additionally si...

Robert Rauschenberg, American (1925 - 2008) - Brazil Summit, Year: 1992, Medium: Offset Lithograph, Size: 25 x 26 in. (63.5 x 66.04 cm)

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...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ships rolled in a tube measuring 37...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper - Artist Authorized reproduction Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Gerhard Richter Abstract Painting (one plate) - artist authorized, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins. (Artist Authorized) Not signed, edition of 3433 12 1/2 × 16 1/2 inches Unframed This striking limited edition color plate, printed on GardaMatt Art 250 GSM paper with full margins, was published on the occasion of the major twin Richter exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting), and it depicts Richters 1999 Oil on Aluminum abstract picture, catalogue raisonne reference, 858-6. This print is unframed, unnumbered and in excellent condition. More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

This is a beautiful offset print by Murakami. This is a classic Murakami in which the artist showcases his prowess for reimagining traditional Japanese motifs within a new, contempor...

Plate signed and dated, offset lithograph. Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindners mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived in Munich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army. In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines (Vogue, Fortune and Harper's Bazaar). He began painting seriously in 1952, holding his first one-man exhibit in 1954. His style blends a mechanistic cubism with personal images and haunting symbolism. LIndner maintained contact with the emigre community including New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). Though he became a United States citizen in 1948, Lindner considered himself a New Yorker, but not a true American. However, over the course of time, his continental circus women became New York City streetwalkers. New York police...

Jim Dine The Christmas Print (Burg, 26), 2001 Drypoint, direct gravure, etching over offset lithograph with hand coloring by artist in oil stick, on T.H. Saunders paper, the full she...