Alpha 137 Gallery

Deborah Kass Make Me Feel Mighty Real, 2011 Silkscreen on wove paper Signed and numbered 9/35 by the artist on the front 23.5 x 18 inches Unframed Pencil signed and numbered from the...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Joseph Beuys Stripes from the House of the Shaman (Hand Signed), 1980 Silkscreen exhibition poster with offset lettering on wove paper; hand signed by Joseph Beuys Boldly signed on t...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Philip Guston at David McKee Gallery (pencil signed by Philip Guston), 1974 Lithograph and offset lithograph poster Signed in graphite pencil under the image 24 1/2 × 20 inches Unframed, unnumbered Rare vintage lithographic poster of 1974 Guston exhibition at David McKee Gallery Signed under the image in graphite pencil by Philip Guston Another hand signed edition is in the permanent collection of Vassar College; otherwise we haven't seen another besides the present work; a true collectors item when hand signed by the artist. Philip Guston Biography Philip Guston (1913 – 1980) is one of the great luminaries of twentieth-century art. His commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. Born in Montreal, Canada, in 1913 to poor Russian Jewish émigrés, Guston moved with his family to California in 1919. Briefly attending the Otis Art Institute in Los Angeles in 1930, he was otherwise completely self-taught. Guston’s first precocious work, Mother and Child, was completed when he was only seventeen years of age. Influenced by the social and political landscape of the 1930s, his earliest works evoked the stylized forms of Giorgio de Chirico and Pablo Picasso, social realist motifs of the Mexican muralists, and classical properties of Italian Renaissance frescoes of Piero della Francesca and Masaccio that he had seen only in reproduction. Painted in Mexico with another young artist, the huge fresco The Struggle Against War and Fascism drew national attention in the US. Guston’s success continued in the WPA, a Depression-era government program that commissioned American artists to create murals in public buildings. While not widely known today, the young artist’s early experiences as a mural painter allowed a development of narrative and scale that he would draw upon in his late figurative work. In the early 1940s, as the WPA program was ending, Guston found work teaching at universities in the Midwestern United States. In his studio, he was working in oils on easel paintings that were more personal and smaller in scale, focusing on portraits and allegories, like Martial Memory and If This Be Not I. His first solo exhibition in Iowa was well received and, within a few years, he was offered his first solo show in New York City. Guston was awarded a Prix de Rome, allowing him to leave teaching and spend a year in Italy, studying firsthand the Italian masters he loved. By the time he had finished The Tormentors, Guston’s move to abstraction was all but complete. On his return from Italy, he continued dividing his time between the artists’ colony of Woodstock in Upstate New York and New York City, which was then emerging as the center of the postwar art world. He rented a studio on 10th Street, where abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko also worked. For Guston, success was never what mattered most. He was already impatient with the language of pure abstraction and experimenting with larger forms, using a limited palette of grays, pinks and blacks. As his forms became still more reduced, he stopped painting altogether and embarked on a series of simplified abstract “pure drawings” in brush or charcoal. At this juncture, Guston removed himself from the art scene in New York, living and working in Woodstock for the remainder of his life. Guston’s move ­was hardly a withdrawal. Freed from the distractions and formal constraints of the art world and the opinions of critics, he was able to experiment with new forms and to engage more deeply with the issues that mattered to him. The 1960s was a period of great social upheaval in the United States, characterized by assassinations and violence, civil rights and anti-war protests. “When the 1960s came along I was feeling split, schizophrenic,” Guston later said. “The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines...

Mario Radice Mario Radice, Marlborough Galleria D'Arte, Roma poster, ca. 1971 Scarce vintage European offset lithograph poster 39 × 26 inches Unframed, unsigned and unnumbered This...

Roberta Allen German Lesson, 1981 Two separate mixed media works framed together: watercolor, gouache, ink, wash, laid paper collage (each signed by hand) Signed twice: each of the s...

Yayoi Kusama Infinity Mirrored Room: The Souls of Millions of Light Years Away: Leather Clutch Purse in Original Box, 2017 Leather outside; polyester inside 6 × 10 × 2 inches This le...

Rene Magritte Le fils de l'homme, 2018 7-Ply Grade A Canadian Maplewood 31 × 8 inches Edition 35/250 Authorized artist's signature on the deck; hand numbered. along with separate han...

Paul Allen Reed Untitled #31, 1982 Oil pastel on paper Pencil signed dated and annotated "7 10 79 1" by Paul Reed on the lower front Frame included: This work is elegantly floated an...

Walter Darby Bannard Ammersee #2, 1975 Watercolor and acrylic painting on paper Signed, titled and dated lower recto This is a unique work Frame included: elegantly floated and frame...

Nancy Graves New York State Governor's Arts Award, 1988 Bronze, polychrome patina and baked enamel on base with Award plaque 10 1/4 × 7 × 10 1/4 inches Hand signed and dated with inc...

Ellsworth Kelly Blue Yellow Red (Gemini 1524), 1991 Lithograph on Rives BFK paper with blind stamps Signed and numbered in graphite pencil; bears publisher's and artist's blind stamp...

This is a super rare and imaginative print - LAST ONE - from the edition of only 10  (TEN) - and it makes an amazing gift!  Paul Leibow Coffee + Cigarettes, 2019 Lithograph on Newsprint Grey Somerset Velvet Printed at Tamarind Institute. Hand printed by Elena Carrasco under the supervision of Master Printer Brandon Gunn Pencil signed and numbered lower right from the edition of only 10 Bears Tamarind Institute chop mark lower left Accompanied by copy of detailed Tamarind documentation sheet Measurements: 28.25" (vertical) x 22" (horizontal) Unframed Critic Tris Mccall writes in a recent review: "Felix the Cat is older than Mickey. He was created over a century ago, and he's been fading in plain view ever since sound was added to motion pictures. But in his Gilded Age prime, Felix was incredibly popular: famous enough to leave a burn mark in his image on the collective imagination. The spirit of the Cat retains enough psychic power to guide the hand of at least one contemporary artist - painter and sculptor Paul Leibow... This playful, irreverent work uses the figure of Felix, or what's left of him, to comment on sexuality, decay and reassembly, mechanical reproduction and corporate branding, and the ubiquity and ambiguity of the commercialized image..." Lithograph with image concept invention of a non existent character: Feel licks ears over ads of vintage comics, creating a unique abstract work, including ghosted figures and cigarettes and coffee falling from an imagined earthquake. The attempt was to use a series from vintage characters that inform the piece, with a body inside the Feel Licks cat face structure. Includes a brain W-ray with lamb faces as a surreal interplay. 6-color print, derived from the artist Mark Rothko in a blend roll or orange and red hue. Limited edition print, signed recto from the edition of only 10 PAUL LEIBOW BIOGRAPHY Paul Leibow works in painting, sculpture, mixed media, and film. A documentary art video about his archival process was selected for the Metropolitan Museum of Arts (a program for art on film). Over his art career, his work has been selected for art books and exhibitions by curators from the Whitney Museum and Met. Leibow has created artworks for recording artist Bruce Springsteen for his world tour, including books, and branded icons/logos utilized for his concerts. 2019 awarded an art residency at Tamarind Institute New Mexico, with two editions archived in the New Mexico Art Museum (UNM). 2020 artworks featured in ArtMaze Magazine’s Winter Issue 16. Hyperallergic -FeelLicks Artwork “Pink”: painting included in review (Art Fair 14C) 2022 Born: New York City / School of Visual Arts - NY, BFA, / Summer Works: Art and design program– NY State / Studied with Milton Glaser 2023 Noyes Museum. NJAA Stockton. 2022 Jersey City Times Review from art critic Tris McCall at (Art Fair 14C) Nov. 2022 2021 Jersey City Times(BEST 2021 SHOW) #5 by art critic Tris McCall 2021 Novado Gallery - Review Solo Show review, Tris McCall_Jersey City Times 2021 ArtsBergen Sneak Peak: Award / Art video and panel discussion 2020 One Fair Wage: Created artwork for vertical billboard shown all over USA 2020 OFW: Featured artwork for new brand as vertical billboard in Times Square NYC 2019 New Mexico Art Museum (UNM) – Two Tamarind Editions archived into the museum. 2019 Tamarind Institute – Artist Residency (one of 4 artist awarded residency) 2019 Tamarind Institute Gallery – No Modifiers exhibition 2019 PABT Arts – New York City, Windows Gallery Aug. – November 2019 Le Galerista – French Canada –art used on apparel line 2016 MoRUS Museum, – Black Babylonian Beads- film premier, Museum reclaimed urban-space 2010 Borghi Fine Arts Gallery – NJ 2004 Waltouch Gallery – NJ 1998 Liquid Gallery – NJ Sibling Rivalry-a show with his brother. 1989 John Harms Center for the Arts, Bergen PAC – NJ 1987 John Harms Center for the Arts, Bergen PAC- NJ 1995 Watchung Arts Center NJ Installation (Elucidations of the empty) 1995 Montclair State University Art Gallery – NJ Abstract Polarities -Jurior by Ivan Karp SELECTED EXHIBITIONS 2022 Hyperallergic -Artwork painting included in review from Art Fair 14C Nov. 2022 2022 ART FAIR 14C Artwork selected for juried exhibition fundraiser Art Fair 14C Nov. 2022 2021 Novado Gallery_ Solo Show Sept 10th / Jersey City Times review by Tris McCall 2021 SHRINE.NYC / Group Show 7 2021 WNYC –poem entitled THIS, aired on April’s (poetry month) 2021 SHRINE – NYC / Group Show - online Exhibition 2020 Montclair Art Museum – JAM at MAM auction / online Exhibition 2020 Art maze Magazine’s Winter Issue 16 - international artists featured in the print edition 2020 Artcritical –David Cohen selected work for Alpha 137 Gallery show 2020 The Museum of Hoboken: Featured in Every Mask a Blank Canvas Exhibition 2020 BSB gallery – Silent auction / Online Exhibition 2020 Transformative – Online Exhibition 2020 Novado Gallery – N.J. handling work included in Exhibition RED 2020 Sugar Press – CA Print editions 2019 Paper west –Utah 2019 Frontline Arts –Oct. (The war on the world) 2019 Edward Williams Gallery – FDU, NJ Red carpet hides beneath our desire 2019 Tamarind Institute, Artist Residency New Mexico, May exhibition ”No Modifiers” 2019 Studio Montclair Gallery, NJ, Everyday Objects 2019 Studios Projects Gallery “HA exhibition” and artist talk – Hoboken NJ 2018 Paper west – Utah 2018 1340 Galley – Art registry 2018 The Rotunda Gallery – Abstract show- June, Photography shows July 2018 Edward Williams Gallery – Group FDU 2018 Union Street Galley – Pen & Ink show- March, Chicago Il. 2018 bG Galley: Stripes show – Santa Monica CA 2017 Alvin...

Jack Youngerman Untitled Study #26, 1967 Gouache painting on paper (with original JL Hudson and PACE Gallery labels) Hand signed and dated '67 on the front; J.L. Hudson Gallery Label on Verso. Unique Abstract Expressionist work on paper Frame included Framed Measurements: Framed: 15 inches by 15 inches by 1.5 inch Artwork: 7.75 inches by 7.5 inches Provenance From the estate of Anne Markley Spivak J. L. Hudson Gallery Label affixed to verso (back). The J.L. Hudson Gallery, Detroit, Michigan This 1967 unique, signed gouache painting by renowned abstract expressionist painter Jack Youngerman was acquired from the estate of Anne Markley Spivak. It is held in the original vintage metal frame with the original J.L. Hudson Gallery label, as well as the PACE gallery label on the verso The artwork has been newly loated and framed in a museum quality white wood frame; the original labels from the original back board have been affixed to the back to preserve provenance. Jack Youngerman Biography Jack Youngerman was born in St. Louis, Missouri on March 25, 1926. He moved to Louisville, Kentucky in 1929 and studied at the University of Missouri, Columbia from 1944 to 1946 under a wartime navy training program. He graduated from the University of North Carolina Chapel Hill in 1947 and, that same year, he returned to Missouri to finish his Bachelor’s degree in Journalism before moving to Paris on a G.I. scholarship. In Paris, Youngerman enrolled at the Ecole des Beaux-Arts, studying drawing with Jean Souverbie. He explored Paris, taking in the cathedrals, museums, and history in order to grasp a greater sense of art history. He also traveled to the Netherlands, Spain, Belgium, Italy, and Greece on fine art excursions. In 1948, Youngerman became friends with Ellsworth Kelly, Eduardo Paolozzi, and Cesar – fellow students at Ecole des Beaux-Arts. He married Delphine Seyrig in 1950, and later that year he had his first group exhibition at Galerie Maeght in Paris. He visited the studios of Constantín Brancusi and Jean Arp and became heavily influenced by the organic forms present in their work. He also met artist Alexander Calder through his father-in-law, Henri Seyrig, and experimental filmmaker and artist, Robert Breer...

Niki de Saint Phalle Last Night I Had a Dream, 1968 Silkscreen on colored paper Signed and numbered 67/75 in graphite pencil on the front Frame included It is elegantly floated and f...

Jasper Johns VIOLA (Viola Farber, Founding Member of Merce Cunningham Dance Company), Field 162, 1972 Original state Color lithograph on Angoumois à la Main paper with full margins ...

Sonia Gechtoff Untitled portico, from the estate of gallerist Andre Zarre, 1977 Acrylic and graphite on masonite Signed and dated '77 in graphite on the front Unique Provenance: Acqu...

Lynton Wells Landscape, 1984 Oil on Canvas (with original Sable Castelli Label back of frame) Hand signed, titled, dated 1984 with artist's copyright symb...

Nigel Hall Untitled Acrylic and Charcoal Painting on Canvas, 1997 Acrylic and charcoal painting on canvas Signed and titled by the artist on the front. Dated on the back. 36 × 30 inc...

Terry Winters Mostly Mozart Festival (Hand Signed), 2009 Silkscreen poster on wove paper Hand signed by the artist on the lower right front in 2016 39 4/5 × 30 1/4 inches Unframed This hand signed silkscreen was created on the occasion of Lincoln Center's Mostly Mozart Festival in 2009 and features one of Terry Winters' iconic silkscreens titled, "Illustrated Set". This work was created in 2009 and signed by the artist 2016. Terry Winters signed it for the present owner, so provenance is direct. The regular (unsigned) edition was 800; however, this work is uniquely signed by hand. In very good condition; the only gentle handling marks were caused by Terry Winters when signing. Terry Winters biography Over the last four decades, Terry Winters has expanded the concerns of abstract painting by engaging contemporary concepts of the natural world. Many of his earliest paintings depict organic forms reminiscent of botanical imagery. Over time, his range of themes expanded to include the architecture of living systems, mathematical diagrams...

Douglas Gordon Andy Warhol in Drag, for the VANITY of Allegory (hand signed with drawing and warmly inscribed to Tim Hunt, Warhol Foundation curator), 2005 Offset lithograph poster (...

Tracey Emin Me + Paul We Are the Trolls, 1995 Monoprint on paper Signed, titled and dated in graphite pencil on the front Unique Frame included: bears original label from Jay Jopling, the founder of White Cube Gallery, Emin's longtime gallery Measurements: Framed (original vintage frame included) 15.5 inches vertical by 20.5 by .75 inches Work 11.5 inches vertical by 16.5 inches horizontal Provenance: The Collection of Douglas S. Cramer, USA Hubert S. Bush Collection USA (with label) Jay Jopling, London (with label) - Jay Jopling is the legendary founder of White Cube Gallery This early (1995) monoprint is part of Tracey Emin's "troll" series, depicting her younger self and her (now estranged) twin brother Paul as children with sometimes murderous thoughts. It was acquired from the collection of Douglas Cramer, (August 22, 1931 – June 4, 2021) a top American television producer who worked for Paramount Television and Spelling Television, producing series such as Mission: Impossible, The Brady Bunch, and Dynasty - who amassed one of the most distinguished collections of contemporary art in the United States. A 2011 Daily Mail article entitled "If you Think Tracey Emin is Wild, say Hello to her Terrible Twin" describes a different monotype, also from the troll series, that Tracey gave to her brother Paul, which he promptly and publicly sold on a TV show, much to her chagrin. The article reads: "Yet there is one person central to Tracey's life who has managed to stay largely shielded from the public eye: her twin brother Paul.. He leads a life that could hardly be more different to Tracey's. She is worth millions, is a household name, owns an estate in the South of France and has A-list friends such as Kate Moss, Orlando...

Thelma Appel Santorini IV, 2019 Oil on canvas painting Hand signed, titled and dated verso 28 × 22 × 1 1/2 inches Unique Frame included: elegantly framed in a hand made white wood f...

Tracey Emin Every Bodies Been There (signed twice), 1998 Lithograph on paper Underneath that existing plate signature, Tracey Emin has, exceptionally hand signed and dated the work f...

Brand new in original packaging Damien Hirst Faneel, H13-11, from Where the Land Meets the Sea, 2023 Laminated giclée print on aluminium composite panel Signed, titled, dated and n...

Richard Haas The Hugh O'Neill Building, 655-671 Sixth Avenue, New York City, 1974 Lithograph on Arches paper Signed, titled and annotated "TP" in graphite pencil on the front Edition...

Larry Bell Untitled (Fraction of Fractions), 2000 Pink, green and black painted elements with applied canvas and paper strips on French watercolor paper Pencil signed and dated lowe...

Tracey Emin Always Me (Hand signed and dated by Tracey Emin), 2004-2016 Limited edition two-sided hand bag of printed cotton canvas, leather trimmings and wool felt patchwork. Uniquely hand signed and dated by Tracey Emin in black marker 10 × 18 1/4 × 8 1/4 inches Hand signed and dated in black marker by Tracey Emin; also bears plate signature Produced by Tracey Emin in collaboration with Longchamp If you're looking for a special Tracey Emin gift that few (if any) people you know would have, and that you are unlikely to find anywhere else in the world - this is it. Tracey Emin has been internationally acclaimed for her textile work, so it is not surprising that the company Longchamp would have commissioned her to design a bespoke handbag for them. This is the only Tracey Emin Longchamp...

Sterling Ruby Poster "Was War Won", 2017 Offset lithograph poster on card paper 27 x 21.5 Unframed This bold and dramatic poster on card was distr...

Robert Petersen After A Rain #2, 1987 Collage on Paper: Pencil, Oil, Acrylic and Cloth Hand signed, dated and titled on lower front with Castelli Graphics label on the back Frame Inc...

Kehinde Wiley Passing/Posing, Paintings Faux Chapel (suite of 18 separate prints), 2004 Portfolio of 18 Separate Color offset lithographs in original black paste board portfoli...

Robert Indiana An Honest Man Has Been President: Homage to Jimmy Carter (Sheehan, 112), 1980 Color silkscreen on off white wove paper 23 1/2 × 19 3/5 inches Pencil signed and numbere...

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

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

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

Mark Grotjahn Backcountry, Gagosian Gallery London poster (hand signed by Mark Grotjahn), 2022 Offset lithograph poster (hand signed) Boldly signed in black marker on the front Unnum...

Kenneth Snelson New York State Council on the Arts vintage poster, 1971 Offset lithograph on wove paper Unsigned, Unnumbered 35 × 25 inches Unframed Scarce original 1970s offset lit...

Tracey Emin HRH (Her Royal Highness) Royal Britannia, 2012 Signed, dated and numbered 141/200 in graphite on the front Polymer gravure on Zerkall paper Published by Emin Internationa...

Laddie John Dill Untitled Mixed Media painting, 2011 Cement, polymer, wood, mixed media on board 12 × 18 × 1 1/2 inches Signed and dated on the back Unique work This exquisite unique...

Billy Al Bengston Sweet Filthy Cheat, 2004 Watercolor and acrylic on paper Signed, dated and titled on the front Frame included Unique This unique work, with it's charmingly sly tit...

Frank Stella (Whitney Museum Exhibited) Shards IVA (Axsom 151), 1982 Lithograph Silkscreen on Arches Cover Paper (Whitney Museum exhibition label verso of frame) 45 1/2 × 39 1/...

Billy Al Bengston Honolulu Watercolor, 1992 Watercolor on handmade paper with deckled edge in artist's hand made frame with studio label verso Signed, titled and dated in pencil lowe...

Michael Heizer III-8 (two pages), 1983 Monoprint on two individual sheets of white handmade TGL paper, hand colored with colored pencils, paint sticks, and liquid and spray acrylic p...

Sonia Gechtoff Flag Icon, 1963 Pastel, graphite and collage Frame included: elegantly framed in hand made wood frame with UV plexiglass Evocative mixed media mid century modern work...

VARIOUS ARTISTS AUFBRUCH AUS MOSKAU MOCKBA - PORTFOLIO OF TWENTY (20) ORIGINAL LIMITED EDITION SIGNED GRAPHICS, 1990 20 Limited edition, hand signe...

Claes Oldenburg Houseball with Fallen Toy Bear, 2013 Color lithograph on Japanese watercolor paper Hand signed and numbered 21/50 by Claes Oldenburg on the front 38 3/5 × 44 inches U...

Cindy Sherman The Nine Lives of Cindy, 2019 Printed Bone Porcelain 12 1/2 in diameter Limited Edition of 100 Plate signed verso and also accompanied by plate signed documentation card/official Certificate of Authenticity In original box Produced exclusively for the National Portrait Gallery in the United Kingdom on the occasion of the 2019 Cindy Sherman exhibition which also traveled to the Vancouver Art Gallery. Acquired directly from the National Portrait Gallery before it sold out. Cindy Sherman Biography: Born in 1954 in Glen Ridge, New Jersey, Cindy Sherman lives and works in New York NY. Her ground-breaking photographs have interrogated themes around representation and identity in contemporary media for over four decades. Coming to prominence in the late 1970s with the Pictures Generation group alongside artists such as Sherrie Levine, Richard Prince and Louise Lawler, Sherman studied art at Buffalo State College in 1972 where she turned her attention to photography. In 1977, shortly after moving to New York, Sherman began her critically acclaimed Untitled Film Stills. A suite of 69 black and white portraits, Untitled Film Stills sees Sherman impersonate a myriad of stereotypical female characters and caricatures inspired by Hollywood pictures, film noir, and B movies. Using a range of costumes, props and backdrops to manipulate her own appearance and to create photographs resembling promotional film images, the series explores the tension between artifice and identity in consumer culture which has preoccupied the artist’s practice ever since. Sherman continued to channel and reconstruct familiar personas known to the collective psyche, often in unsettling ways. In 1981, the artist created her Centerfolds, a series of photographic double spreads inspired by men’s erotic magazines...

Peter Reginato Abstract Bronze Sculpture, ca. 1987 Bronze Signed on the underside 4 × 6 1/2 × 5 1/2 inches This bronze sculpture is by the American abstract sculptor Peter Reginato. ...

Kenny Scharf Absolut Scharf for Absolut Vodka, 1987 Lithograph with offset lettering in colors on wove paper Hand signed and dated by artist on lower right front Limited Edition of 2...

Tacita Dean Necklace Film Reels, 2012 Mixed media film reels Unsigned Edition of 36 Accompanied by letter/certificate from the publisher 16 in diameter Provenance Studio Voltaire, Lo...

Nicholas Krushenick New York State Council on the Arts Award poster, 1970 Silkscreen on wove paper - original 1970 poster, not a reprint Unsigned, unnumbered, unframed 35 × 25 inches...

Raphael Soyer Self-portrait, 1980 Lithograph on wove paper Hand-signed by artist, Pencil signed and numbered 7/250 on the front Titled "Self portrait" on the verso Bears publisher's ...

René Magritte Magritte at Galerie Alexandre Iolas, Milan, Italy, ca. 1980 Offset lithograph lettering and silkscreen poster on thin wove paper ...

Richard Lindner 3 Biennale Internationale de L'estampe (International Biennale of Graphic Arts), Miss American Indian, 1968 Silkscreen on wove paper Unnumbered 35 1/2 × 23 1/2 inches...

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...

Richard Haas is the world's foremost architectural muralist. He was profile by CBS News Sunday Morning Arts program with Jane Pauley Richard Haas Times Square at Night (Empire and Lo...

Jasper Johns "Jasper Johns Paintings", vintage Leo Castelli Gallery poster, 1984 Offset lithograph Unsigned Unnumbered 30 × 22 1/2 inches Unframed Offset lithograph poster published...

Robert Indiana LOVE Brooch, Limited Edition for the Yorkshire Sculpture Park, 2022 Sterling silver in black gift box with silver foil detail Accompanied by fold out information card ...