Abstract Expressionist Prints and Multiples

Karel Appel Looking Around Signed Limited Edition Lithograph 1971 39.25 x 28.25" inches Signed, marked 12/100 and dated 71 Karel Appel is one of the founding members of the CoBrA ...

Dan Christensen, American (1942 - 2007) - Delta Leader, Year: circa 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 145, Size: 43 in. x 29.5 in. (109.22 cm x 7...

Frank Stella challenges the narrative possibilities of abstraction in this tribute to the literary work “Moby-Dick”. Rather than plainly depicting scenes of the novel, Stella instead...

Worldscape Domenick Turturro, American (1936–2002) Date: 1978 Screenprint, signed and numbered in pencil Edition of AP 18/30 Image Size: 30 inch diameter Size: 3...

Mojo by Dan Christensen, American (1942–2007) Date: circa 1980 Screenprint, Signed and numbered in Pencil Edition Size: 175 Size: 43 in. x 29.5 in. (109.22 cm x 74.93 cm)

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

Scott Sandell, American (1953 - ) - Offshore II (Triptych), Year: circa 1990, Medium: Set of Three Lithographs, signed, numbered and titled in pencil on the central panel, Edition:...

Rafael Soriano Untitled, 1990s Serigraph Ed. of 150 33 x 26 in Provenance: Private Collection, Miami. Born in 1920 in the town of Cidra in the prov...

Damien Hirst - KYNANCE COVE Date of creation: 2023 Medium: Laminated Giclée print on aluminium composite panel Edition: 411 Size: 120 x 90 cm Condition: Brand new and never framed T...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of American artists that radically defined abstraction and establish...

This exquisite lithograph by Robert Motherwell (1915–1991), titled Tricolor, from the album XXe Siecle, Annee No. 40, Juin 1973, originates from the 1973 edition published by Societe...

A very good impression of this scarce, early lithograph on Rives BFK. Artist's proof, aside from the edition of 100. Initialed, dated and inscribed "a...

This visually captivating poster depicts a traditional Japanese family at the center, rendered with intricate detail and cultural sensitivity. Designed for the Riccar Museum, the pos...

Robert Motherwell Black Cathedral 1991 Lithograph on white Tyler Graphics Ltd. (TGL) handmade paper, Edition of 40 170.2 x 119.4 cms (67 x 64 ins) RM17876 Siri Engberg and Joan Bana...

Original Vintage "Rome Qantas" Vintage Travel Poster, Linen Backed, 1960s. Excellent condition. See images. Abstract style design of ancient Roman ruins. An original mid-century...

Ting Shao Kuang (b. 1939) Harp 1999 color screen print, signed on the lower right side and numbered AP40/50A on the left in pencil, ...

André Lanskoy - Composition - Original Etching From Dédale Edition: 190 Dimensions: 32 x 18 cm This etching is from the first series of etching Lanskoy made. Unsigned and unumbered ...

Jane Kent, American (1952 - ) - String of Pearls, Year: 1993, Medium: Lithograph, signed, titled, numbered and dated in pencil, Edition: PP 3/3, Image Size: 24 x 18 inches, Size:...

Sam Francis Untitled 1978 Lithograph, Edition of 15, 11 unique colour variants This is one of the unique colour variants 129.7 x 129.9 cms (51.1 x 51.1 ins) SF17881

74.6 x 43.2 cms (29 3/8 x 17 ins) Edition of 30 Plate: 60.3 x 25.1 cm (23 3/4 x 9 7/8 ins), Sheet: 74.6 x 43.2 cm (29 3/8 x 17 ins) Paper: Somerset Textured Edition of 30 Proofs: I BAT, 3 AP, 3 CTP Signed right, under image, numbered left, under image; publisher's chop lower right. Publisher: The Litho Shop, Inc., Santa Monica, California Printed by Jacob Samuel...

Pierre Tal Coat - Original Lithograph 1976 Dimensions: 32 x 25 cm Revue XXe Siècle Edition: Cahiers d'art published under the direction of G. di San ...

This original etching and aquatint in colours is hand signed by the artist in pencil "Sam Francis" at the lower right margin. It is also hand inscribed in pencil “CTP” [Colour Trial...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein...

Wyona Diskin, American (1915 - 1991) Blue Man with Fish Monoprint, Signed on the back lower left. Unframed. Signs of color remain from printing on the white ...

IRIS 2 Date of creation: 2006 Medium: Etching on Paper Edition: 50 Size: 100 x 70 cm Condition: In very good conditions and never framed Observations: Etching on paper signed by the ...

Maurice Mourlot - Portrait - Original Lithograph 1956 Signed in the plate Dimensions: 22 x 16 cm Publisher: Sauret. Frontispice of Kim

José Manuel Broto - IRIS 5 Date of creation: 2006 Medium: Etching on paper Edition: 50 Size: 100 x 70 cm Condition: In perfect conditions and never framed Observations: Etching on pa...

Lithographon BFK Rives paper , 1955 Limited edition of 125 copies Numbered as: epreuve d'essai ( a proof before the final print run ) Sheet size: 65.5 x 50.5 cm Publisher : L'oeuvre ...

John Grillo Untitled Op Art Mid Century Modern, 1969 Color silkscreen on art paper with deckled edges Signed and dated lower right; numbered 6/9 lower left Limited Edition of only 9...

Jamie Nares When the Language was Young, 2010 Lithograph in red on polymer Pencil signed, dated and numbered 13/50 lower front Lithograph in red on acrylic Pencil signed, dated and ...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

Edition of 20 pieces

Non-objective mid-century abstract block print by Anthony "Tony" Luchessi (American, b. 1934). Signed and dated "Lucchesi '64" upper left. Displayed in a wood frame, without glass. I...

Edition of 20 pieces

L.W. by Dan Christensen, American (1942–2007) Date: 1978 Screenprint, signed, titled and numbered in pencil Edition of 170 Image Size: 28 x 19.75 inches Size: 30 x 22 in. (76.2 x 55....

This original vintage monotype print by Denver artist Wilma Fiori presents a powerful abstract composition rendered in brilliant shades of scarlet and red, evoking intensity, movemen...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Sylvia Wald (October 30, 1915 – March 24, 2011) Monnlight, 1954. Screen print on paper, image measuring 14 x 25 inches. Framed measurement: 21 x 32 inch...

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

Lynda Benglis Gold Leafed Bronze Wings, 1979 Lithograph on wove paper Hand signed, dated 1979 and numbered by Lynda Benglis on the front in bright green crayon. Bears publishers blind stamp Unframed and affixed to dark grey/black matting Hand signed, dated 1979 and numbered by Lynda Benglis on the front in bright green crayon. Bears publishers blind stamp. Published by Landfall Press; a rare limited edition print from the 1970s, depicting a sculptural installation by one of the most dynamic influential and important art world superstars of our time. The writing on the print: Gold Leafed Bronze Wings Black Concrete Obelisk...

Artist: Jasper Johns (1930) Title: Two Cup Picasso Year: 1981 Medium: Lithograph and silkscreen on premium paper Size: 14 x 10.5 inches Inscription: Signed & dated with the artist's ...

Guillaume Corneille Portrait - 1982 Print - Lithograph on Arches Archival Paper 30'' x 22'' Edition: signed in pencil and marked 25/300 As a co-founder of the famed experimental art...

Dimitri Petrov, American (1919 - 1986) - Horse Study, Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 22 x 30 in. (55.88 x 76.2 cm)

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

RAZA Sayed Haider Bindu, 2008 Original lithograph Hand signed in pencil Numbered / 150 On vellum 43 x 22" (110 x 55 cm) Authenticated with the Editor stamp on the backside Excellen...

This exquisite lithograph by Paul Jenkins (1923–2012), titled Composition pour Eric (Composition for Eric), originates from the 1972 edition published by Editions A. C. Mazo et Cie.,...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 17.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Robert Motherwell (1915-1991) is one of the essential American abstract painters that radically defined post-war abstraction in New York City. Today, his work appears in museum collections around the world and is instantly recognizable for its boldness and black forms. His auction record was set in 2018 at $12.6 million USD. In addition to his impressive paintings, Motherwell is also revered as a printmaker. He is one of the most innovative and prolific printmakers of the 20th century. He was always searching for new techniques, whether at his own printmaking atelier, or collaborating with others, to expand his ideas and express his aesthetic. "America-La France...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 11.937 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the fo...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. (similar to the Art Informel and Art Brut in France and the Brutalist artists) Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein...

"Ragards sur le passé" - is an original woodcut engraving of Wassilij Kandinsky which was edited by Nina Kandinsky from his work from 1912. The work is in the artist's characterist...

After Joan Miró “Laurels Number One”, Patinated Bronze Relief Framed, c.1980 Elegant patinated bronze bas-relief titled “Laurels Number One”, created after Joan Miró’s 1947...

WERNER DREWES (1899 - 1985) CASTLE ROCK WYOMING (Jackson Hole), (Rose RIII 194) Color woodcut Total edition XXX, Signed, annotated AP and dated '58 in...

S.O.C. #2 2014 Etching 76.5 x 91cm Yang Chihung (Chinese: 楊識宏; pinyin: Yang Chihung; born 1947) Taiwanese-American artist. Yang Chi-hung was born on 25 October 1947, in Chungli, Tai...

Lithograph and chine colle 73.9 x 56.9 cms (29.1 x 22.4 ins) Edition of 19

This exquisite lithograph by Willem de Kooning (1904–1997), titled Untitled, from the folio Poems, originates from the 1988 edition published by The Limited Editions Club, New York, ...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 3...

Katherine Porter is an American artist born in Cedar Rapids, Iowa in 1941. She received her BA from Colorado College in 1963. Katherine Porter received an honorary doctorate from Col...