Alpha 137 Gallery Prints and Multiples

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

Kiki Smith For Leslie Gore, Mo Tucker, Laura Nyro and Mama Cass: What Girls Know About Grids (signed twice), 2000 Eight etching and relief etchings on handmade Japanese paper attache...

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, edition of 60 Unframed 27.25 inches by 19.75 inches Francoise Gilot was not just Picasso's muse; she was an accomplished artist in her own right, and at age 100, the New York Times dubbed her the art world's latest "It Girl".! Signed and numbered in graphite pencil; also bears artist's personal monograph with date. Held in original vintage frame under plexiglass. Charmingly, there is a sticker label on the back of the frame, from the "Picasso Gallery Custom Framing" in D.C. This silkscreen is based upon Gilot's eponymous painting, also done in 1981 Excerpt from Alan Riding's 2023 New York Times obituary on Gilot: " Françoise Gilot, an accomplished painter whose art was eclipsed by her long and stormy romantic relationship with a much older Pablo Picasso, and who alone among his many mistresses walked out on him, died on Tuesday at a hospital in Manhattan. She was 101...But unlike his two wives and other mistresses, Ms. Gilot rebuilt her life after she ended the relationship, in 1953, almost a decade after it had begun despite an age difference of 40 years. She continued painting and exhibiting her work and wrote books. In 1970, she married Jonas Salk, the American medical researcher who developed the first safe polio vaccine, and lived part of the time in California. Still, it was for her romance with Picasso that the public knew her best, particularly after her memoir, “Life with Picasso,” written with Carlton Lake, was published in 1964. It became an international best seller, and so infuriated Picasso that he broke off all contact with Ms. Gilot and their two children, Claude and Paloma Picasso. Ms. Gilot’s frank and often-sympathetic account of their relationship — she dedicated the book “to Pablo” — provided much of the material for the 1996 Merchant-Ivory movie, “Surviving Picasso,” in which she was played by Natascha McElhone, with Anthony Hopkins as Picasso. If Ms. Gilot’s book sold well, so has her art. With her work in more than a dozen museums, including the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Centre Pompidou in Paris, her paintings fetched increasingly higher prices well into her later years. As recently as June 2021, her painting “Paloma à la Guitare” (1965), a blue-toned portrait of her daughter, sold for $1.3 million in an online auction by Sotheby’s. That surpassed her previous record price, $695,000, paid for “Étude bleue,” a 1953 portrait of a seated woman, at a Sotheby’s auction in 2014.. And in November 2021, her abstract 1977 canvas “Living Forest” sold for $1.3 million as part of a retrospective of her work at Christie’s in Hong Kong. Lisa Stevenson, the head of curated sales for Sotheby’s in London, told ARTnews after the 2021 auction, “It isn’t commonly known that Gilot’s commitment to art was present long before her relationship with Pablo Picasso, and she was sadly often left in his shadow.”.. Marie Françoise Gilot was born into a prosperous family on Nov. 26, 1921, in Neuilly-sur-Seine, a suburb of Paris, the only child of Emile Gilot, an agronomist and chemical manufacturer, and Madeleine Renoult-Gilot. Her 19th-century ancestors had owned a couturier house of fashion whose clientele included Eugenia, the wife of Emperor Napoleon III. Marie Françoise was drawn to art from an early age, tutored by her mother, who had studied art history, ceramics and watercolor painting. Her father, however — recalled by Ms. Gilot as an authoritarian who had forced her to write with her right hand, though she was left-handed — had other ideas. Envisioning a career in science or the law for his daughter, he persuaded her to enroll at the University of Paris, where she received her bachelor’s degree in 1938 at age 17. She went on to study at the Sorbonne and the British Institute in Paris and receive a degree in English literature from Cambridge University. As war crept closer to France in 1939, her father sent her to the city of Rennes, northwest of Paris, to enroll in law school. All the while she continued working on her paintings. Then came the German occupation of Paris, in June 1940, and she joined other students in an anti-German protest march at the Arc de Triomphe. In a clash with the French and German authorities, Ms. Gilot was arrested, briefly detained and put under watch. “From day one, we were not the kind of people who would become collaborators,” she said of her family. She continued her law studies at the University of Paris, but after taking her second-year examinations, in June 1941, she lost interest and abandoned the field, deciding to devote herself to art. She began private lessons with a fugitive Hungarian Jewish painter, Endre Rozsda...

RICHARD ANUSZKIEWICZ Grey Tinted Rainbow, 1992 Assemblage with 14 Color Silkscreen and Lithograph Pencil signed and numbered 11/40 on the front Frame included: elegantly framed in a ...

Kathan Brown Evening Moon, 1962 Color etching on wove paper Hand signed, titled, dated and numbered 30/100 by Kathan Brown on the front 18 3/4 × 27 3/4 inches De-accessioned from the...

Harmony Korine Killa Klan 2, 2011 Archival inkjet print in colours, on stretched canvas Signed and numbered 25/50 in black marker on the back 20 1/5 × 16 1/5 × 1 1/5 inches Published...

Tracey Emin Limited Edition Docket Purse, 2011 Leather purse with zipper with original price tag in Selfridges bag 3 3/5 × 3 3/5 × 3/10 inches Edition 40/100 Signed in plate, Bears T...

This is a rare, two-sided mass card from Andy Warhol's memorial mass, which was held on April 1, 1987 at St. Patrick's Cathedral in New York. The front of the card depicts Warhol's 1...

Howard Kanovitz The Ground Above Us, 1980 Color lithograph on wove paper with deckled edges by renowned photo realist pioneer Signed and numbered from the limited edition of 175 in ...

Robert Kushner Paris Review, 1982 Lithograph with Deckled Edges. Hand signed and numbered 142/200 by the artist on the front 30 × 44 inches Unframed This work was part of a series o...

Robert Cottingham Blues, from the American Signs Portfolio (hand signed by Robert Cottingham), 2009 Screenprint in colors on wove paper Pencil signed, numbered 66/100, dated, and tit...

Chuck Close Process and Collaboration (Hand Signed by Chuck Close), 2004 Offset Lithograph poster (Hand Signed & dated by Chuck Close in 2014) Boldly hand signed and dated by artist ...

James Rosenquist Cleveland Center for Contemporary Art 1968-1983 Offset Lithograph Poster on White Wove Paper Plate (printed) signature Limited Edition of 500 (unnumbered) Unframed A...

Incised signature in aluminum, annotated "Artists Proof" and titled; ink on top smudged If you've ever visited the Guggenheim Bilbao, you should get this stunning mixed media on alum...

Marina Abramovic The Artist is Present poster (Hand Signed), 2012 Offset lithograph. Hand signed by Marina Abramović LARGE: 40 × 27 inches Boldly signed by Marina Abramovic on the f...

Mary Bauermeister Pittsburgh International Carnegie Museum, 1967 Offset Lithograph Poster 20 × 37 inches Edition of 500 Unframed This is the original, historic poster designed by Mar...

Rudolf Stingel Art Production Fund Plate (Hand Signed), 2010 100% porcelain plate (uniquely hand signed by Rudolf Stingel) 10 1/2 in diameter Hand-signed by artist, signed in plate,...

Anne Youkeles Persian Garden, ca. 1970 3D Color Silkscreen w/ Arches paper backing Hand-signed by artist in pencil, titled and numbered 37/100 on backing sheet of Arches paper. 23 x ...

Christo and Jeanne-Claude The Wrapped (MCA), 1969 (Hand Signed), 2019 Four-color offset lithograph on 110 lb. Crane Lettra Cover stock, with an elegant gold foil stamp. Hand Signed ...

Damien Hirst H12-4: Beautiful, Everlasting, Inexhaustibly Interesting, Self-Revelatory Gyration Painting, 2023 Mixed Media Giclée print on poly-cotton artist canvas mounted on a birc...

Bridget Riley Richard Feigen Gallery 1965 Op Art poster, 1965 Offset lithograph poster Limited Edition of approx. 300 (unnumbered) 21 × 17 inches Unframed Very rare early Bridget Riley poster...

Joseph Beuys Joseph Beuys, een konfrontatie, 137 Tekeningen 1945-1979, (Hand Signed), 1979 Silkscreen on velincarton (thin board) Catalogue raisonne reference: Weiss-Britsch 75 Boldl...

Joseph Beuys Blatt auf Karteikarte (from Columbus: In Search of a New Tomorrow), 1992 Color silkscreen on vellum parchment paper, held in original portfolio sleeve Signed by Eva Beuy...

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Lithograph with offset lettering Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame inclu...

Tracey Emin Reach Out for Fruit, 2012 Home made inkjet print Pencil signed and dated 2012 on the front; bears the Emin International stamp on the back; edition of 100 16 1/2 × 11 1/2...

Anne Youkeles Gemini, ca. 1969 Three-dimensional mixed media silkscreen on folded sheets of thin card Hand-signed by artist in pencil, titled and annotated Artist's Proof I from the ...

Natvar Bhavsar Untitled mid 1960s abstraction, 1967 Silkscreen Pencil signed, dated and numbered 10/30 by Natvar Bhavsar on the front Frame included: Elegantly framed in a museum qua...

Tracey Emin Museum of Contemporary Art Poster (Hand Signed) Offset Lithograph in Semi-Gloss Paper Signed boldly by Tracey Emin in white grease marker on the front 24 x 18 inches Unfr...

Christo and Jeanne-Claude Project for documenta IV, Kassel, 5600 Cubicmeter Package, 1968 Gelatin silver print. Boldly signed, dated, numbered 12/50 and inscribed in black marker by...

Nobuyoshi Araki Private Tokyo, 1996 Two Sided Offset Lithograph Boldly signed and numbered 26/50 by the artist in black marker on the lower right front 33 × 46 3/5 inches Published b...

Chuck Close Phil, 1976 Limited Edition rubber stamp print on Strathmore 3-Ply Paper. Pencil numbered from the edition of 1000 on the verso. Artist's printed copyright name verso. Acc...

Larry Rivers Downtown Lion (1st State), 1967 Etching on wove paper, signed, inscribed and dated with blind stamps Signed, dated and inscribed in graphite; Printers Proof aside from ...

From the rare, Deluxe, hand signed edition of only 100: David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Created as a one-off limited edition; exact number unknown, but scarce collectible: David Hockney The Rake's Progress, 2019-2020 Fine Bone China finished with platinum gilding in ele...

Tracey Emin It's A CRIME to Live with The Person You don't LOVE, 2121 Giclée print on Hahnemühle FineArt Pearl 285gsm paper, accompanied by official COA with hologram 16 1/2 × 11 2/5...

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...

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...

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...

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 ...

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...

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...

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...

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