Alpha 137 Gallery Abstract Prints

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

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

FAILE Red Dog, 2018 Offset Print with gold foil on Lenox 100 paper. Faile studio stamp on the back Annotated and hand signed in pencil on the lower front with studio stamp on the bac...

Françoise Gilot Francoise Gilot Monograph 1940-2000 (hand signed and warmly inscribed to renowned actress), 2000 Hardback monograph in a slipcase, hand signed and inscribed by Franco...

Jasper Johns, Merce Cunningham, John Cage Dancers on a Plane, 1989 Clothbound Artist's Book with slipcase, Signed in ink by John Cage, Merce Cunningham, and Jasper Johns on the half-...

Jules Olitski Mozart Night, 1992 Silkscreen on wove paper Signed, dated, titled and numbered 71/108 in graphite pencil on the front Edition 71/108 47 × 36 inches Unframed Silkscreen ...

Françoise Gilot Painting-Malerei, hand signed and warmly inscribed to renowned actress, 2003 Hardback monograph, signed in ink with lengthy inscription to American actress Elizabeth ...

Claes Oldenburg Rolling Collar and Tie (AXSOM/PLATZKER 259), 1995 Color lithograph on rice paper Pencil signed and numbered from the limited edition of only 52 on the front Measureme...

Saul Steinberg Nuits de La Fondation Maeght, 1970 Silkscreen Poster Published by Maeght and Arte Paris Signed on the plate with elegant gold stamp in the middle 35 × 23 in 88.9 × 58...

Jasper Johns Target with Four Faces (ULAE 55), 1968 Silkscreen in colors on Rives BFK wove paper Signed and dated in red ink and numbered 53/100 (total edition includes ten artist's ...

Richard Serra Richard Serra Drawing: A Retrospective (hand signed by Richard Serra), 2011 Hardback monograph with dust jacket (hand signed by Richard Serra) Hand signed by Richard Serra on the title page 12 × 10 × 1 1/2 inches Provenance Strand bookshop New York, official signed copy (see cover) This is the official signed copy from Strand bookshop, NY. bearing the "Signed Copy" stamp on the cover. Makes a superb gift! Published on the occasion of these exhibitions: The Metropolitan Museum of Art(04/11/11-08/28/11) San Francisco Museum of Modern Art (10/15/11-01/16/12) The Menil Collection (03/02/12–06/10/12) Book information: Published by Yale University Press, CO, and The Menil Collection, Houston. English; Hardback; 232 pages with 160 quadratone illustrations Publisher's blurb: As the focal point of numerous high-profile exhibitions, the sculpture of Richard Serra (b. 1939) has drawn international acclaim. Yet even those who have marveled at Serra's intellectually rigorous and large works of sculpture may not be familiar with his equally intriguing drawings. This handsome book brings together for the first time Serra's drawn work, considering the artist's investigation of medium as an activity both independent from and linked to his pioneering sculptural practice. First working in ink, charcoal, and lithographic crayon on paper, Serra originally used drawing as a means to explore form and perceptual relations between his sculpture and the viewer. Over time, his drawings underwent significant shifts in concept, materials, and scale and became fully realized and autonomous works of art. The grand, bold forms he created with black paintstick in his monumental Installation Drawings were designed to disrupt and complement existent spaces and eventually began to occupy entire rooms. In the late 1980s, Serra explored the tension of weight and gravity through layering, and his most recent work experiments with surface effects, using mesh screens as intermediaries between the gesture and the transfer of pigment to paper. More about Richard Serra: Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working. —Richard Serra One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970. Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004). In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012. In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen. Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite...

Billy Al Bengston LA 1984 (with official COA from Olympic Committee), 1982 Offset Lithograph and lithograph on Parson's Diploma paper (hand signed), with COA from Olympic Committee &...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Lithograph and offset Lithograph on Parsons Diploma Parchment...

Walasse Ting 丁雄泉 Chinese Moonlight (signed, dated and inscribed by Walasse Ting), 1967 Illustrated Softback monograph with four original double-page litho...

Stephen Powers EVERYTHING IS SHIT Except You Love, 2014 Screenprint on 335 GSM Coventry Rag paper 24 × 24 inches Edition PP 3/3 Hand Signed and numbered in the artist's distinctive hand. One of only three rare Printer's Proofs Rare collectible! One of only three (3) printers proofs!! For offer here is an 11 Color lithograph on 335 GSM Coventry Rag paper featuring the incredibly popular message : "Everything is Shit Except you Love” by artist Stephen Powers, who recently exhibited at the Brooklyn Museum. The simple messaging with bold, playful lettering with purple background has resonated with so many, and the edition sold out almost immediately. This is one of only three rare Printers Proofs, aside from the regular edition, which is also long sold out. In excellent condition; never framed. Makes a terrific gift that says it all. Excellent provenance: Acquired directly from the printer. About Stephen Powers A Fulbright scholar who has been awarded many public commissions and exhibited in major institutions like the Brooklyn Museum.... Born and raised in Philadelphia’s Overbrook neighborhood, Stephen Powers (b. 1968, Philadelphia) moved to New York in 1994, where he gained attention as the publisher of On the Go magazine and the author of the graffiti history The Art of Getting Over. In 1997, Powers undertook an ambitious and far-reaching graffiti campaign of his own, using the official-sounding acronym ESPO (Exterior Surface Painting Outreach) to deflect attention from the illegality of his activities. By 1999, he had covered dozens of storefront grates with giant silver block lettering. Powers gave up street graffiti the following year to concentrate on studio-based projects. Powers’s work typically fuses word and image in paintings and graphics that evoke the bright look of a handmade bodega and fairground...

Ossip Zadkine Galerie Im Erker Exhibition (Hand Signed), 1961 Off-set Lithograph Poster (Signed by Zadkine) Signed in ink on lower right front 33 1/2 × 21 1/2 inches Unframed Provena...

Jasper Johns 50th Anniversary of the Whitney Museum of American Art in New York City, 1979 Original lithograph on heavy wove paper 46 × 30 inches Limited Edition of 5000 (unnumbered) Stamped with copyright mark and publisher's blindstamp Published by Stony Johns, Inc. and Gemini G.E.L. Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Unframed This stunning, impressive, large vintage lithograph...

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

Pierre Tal-Coat Untitled, from the Swiss Society of Arts Portfolio, 1975 Lithograph on paper with deckled edges. Hand Signed. Numbered. Unframed Hand signed and numbered on the lower...

Chryssa Chinatown Portfolio II, Plate Three, ca. 1978 Silkscreen on thick wove paper 40 × 30 1/2 inches (Ships rolled in a tube measuring 35 x 5 x 5) Pencil signed and numbered 36/150 on the front; bears printers stamp on the back Unframed from the Chinatown Portfolio Printed by Atelier Arco in Paris (with stamp on the back of the print) from the Chinatown Portfolio Renowned Greek-American artist Chryssa was preoccupied with the concept of Chinese letters as art forms, which she explores in her Chinatown silkscreen series. Her deliberate experimentations yield an elegant and compelling result. Chryssa Biography Chryssa Vardea...

Robert Indiana 0, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 (unsigned) Frame included: Elegantly matted and fra...

Paul Jenkins International Very Special Arts Festival poster, 1994 hand signed and dated by Paul Jenkins Measures: 37 inches (vertical) x 25 inches (horizontal) Ships rolled in a tub...

Joe Goode Floating Cards, 1969 Lithograph on Arches paper with two deckled edges. Hand Signed. Dated. Annotated Hand signed, dated and annotated Artists Proof on the lower front 22 1/4 × 29 4/5 inches Published by Mourlot, Paris Provenance: Reese-Palley Gallery, Atlantic City, New Jersey Unframed Part of Joe Goode's five part 1960s series "Floating Cards". Rarely to market. The provenance of this print is from the Reese-Palley Gallery. The famous dealer and adventurer Reese Palley of Atlantic City New Jersey - was the second gallerist in the 1960s - after Paula Cooper - to set up shop in SOHO. Hand signed, dated, and annotated Artist's Proof aside from the regular edition. Pop art pioneer Joe Goode (born 1937) was born in Oklahoma City, Oklahoma, in 1937. In 1959 he moved to Los Angeles, California, where he attended the Chouinard Art Institute until 1961. First recognized for his Pop Art milk bottle paintings and cloud imagery, Goode's work was included along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Robert Dowd, Edward Ruscha, and Wayne Thiebaud, in the 1962 ground-breaking exhibit New Painting of Common Objects, curated by Walter Hopps...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Saint Clair Cemin FLAG, 1978 Lithograph on blind stamped paper 25 × 35 inches Pencil signed and numbered 18/100 Unframed Rare vintage lithograph by this renowned Brazilian-born inter...

Nahum Tschacbasov Mid Century Modern Clown, 1956 Lithograph Signed, dated and numbered 144/250 in graphite on the front 34 x 27.5 inches Unframed, affixed to matting Published by American Color Slide Co, Ltd., New York Terrific uncommon vintage signed, numbered and dated mid Century modern lithograph from this interesting and distinctive -and undervalued Russian American artist. Highly collectible clown...

Myron Stout Untitled (from Rubber Stamp Portfolio), 1976 Rubber Stamp Print on Buckeye Paper 8 × 8 inches Limited Edition of 1000 Stamped with a...

Christopher Wool "The Show is Over", 2013 Offset Lithograph 33 1/2 × 25 inches This poster was designed by contemporary artist Christopher Wool in conjunction with his 2013 Museum re...

WILLIAM T. WILEY Deneb, 1996 Multi Color Lithograph on wove paper with one deckled edge 25 × 17 3/4 inches Edition of 265 Signed, dated inscribed "Ed. 265" Published by: Print Club of Cleveland Printed by Shark's Ink, Published by Print Club of Cleveland Unframed Fantastic multi color 1996 lithograph, hand signed and numbered by the remarkable well listed California artist William T. Wiley. Some people include Wiley in the genre of California funk...

Robert Indiana Anne inspired by Susan B. Anthony, 1977 Color Lithograph on Arches Paper Hand Signed, dated and numbered 93 from the limited edition of 150 (93/150) front in graphite pencil 17 4/5 × 14 inches Unframed Robert Indiana, celebrated for his iconic “LOVE” design, entered the realm of the theater in 1966 when he served as a set and costume designer for The Mother of Us All, an adaptation of Gertrude Stein and Virgil Thomson’s 1947 opera about activist Susan B. Anthony during the Women’s Suffrage Movement. Billed as “An American Pop Opera,” the play was first performed at the Guthrie Theatre...

Jean Dubuffet Dubuffet: The Museum of Modern Art vintage poster, 1962 Offset lithograph poster 19 1/2 × 15 inches Unframed with original folds (it was de...

Robert Indiana 9, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included: Elegantly matted and fra...

Robert Indiana 4, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fr...

Walter Darby Bannard Siciliian Magician, 1980 Silkscreen on wove paper Pencil signed, titled and dated by the artist on the front Unframed Provenance: Bart Gallery, Providence, RI Th...

"Little Boy" - charming 1960s silkscreen rarely seen on the market would look perfect in a child's room - or in any room in the house! Karel Appel Little ...

Sol LeWitt Untitled geometric abstraction for Ugo Ferranti Gallery Exhibition Invitation, Rome, Italy, 1980 Rare vintage silkscreen poster for Ugo Ferranti in Rome. Signed by Sol LeW...

James Rosenquist Rosenquist at Leo Castelli (Hand Signed and inscribed by James Rosenquist), 1988 Offset Lithograph Poster (Hand Signed and Dedicated) Frame included: held in original vintage frame under plexiglass A collectors' item when hand signed by the artist as the present work Early historic Leo Castelli exhibition poster published on the occasion of the James Rosenquist exhibition "Through the Eye of the Needle...

Tom Wesselmann Shiny Nude (Stealingworth, 33), 1977 Silkscreen on glossy cast-coated Kromekote paper 8 × 8 inches Edition of 1000 (AP/1000) Pencil numbered ...

Tracey Emin I Love You/I Love Your Soul/I Love Your Smile, ca. 2010 100% Cotton Beach Towel 60 × 70 inches (folded it's 25 x 30 inches) Signed in plate, authorized printed...

RETNA Skateboard (Blue with red back) and embossed COA hand signed by RETNA, 2018 Silkscreen on Maplewood skate deck. Accompanied by Certificate of Authenticity hand signed by RETNA on Embossed Letterhead 32 × 8 1/2 inches Edition of 100 Accompanied by embossed Certificate of Authenticity hand signed by RETNA Limited edition of only 100 - not to be confused with sthe larger edition of 250. This work is accompanied an embossed Certificate of Authenticity, issued by the sponsor "Beyond the Streets...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Robert Motherwell Roots of Abstract Art in America, from the VIP hand signed limited edition, 1966 Lithograph and offset lithograph Pencil signed and numbered 46/100 on the front Fra...

Richard Serra Silence, For John Cage (Hand Signed), 2016 Offset lithograph (hand signed by Richard Serra) 29 inches vertical × 39 inches horizontal Boldly signed in black marker on t...

Richard Serra Historic Tilted Arc Defense Fund (Hand signed by Richard Serra), 1985 Offset lithograph poster from the artist's private collection Boldly signed in black marker on the...

Corita Kent Yes to You, 1979 Color silkscreen Hand signed, numbered and uniquely inscribed with a heart doodle by the artist on the front. Artists Proof (aside from the regular editi...

John Muench at Joan Whitney Payson Gallery of Art (Signed by John Muench), ca. 1982 Offset lithograph poster (Hand signed by John Muench) Hand-signed by artist, Pencil signed by John...

Roy Lichtenstein 1970-1980 (Hand Signed and dated by Roy Lichtenstein), 1981 Offset lithograph. Hand signed and dated in ink Hand-signed by artist, H...

Horst Antes Untitled, from the Swiss Society of Arts Portfolio (Lutze 629), 1975 Lithograph on paper with Deckled Edges. Hand signed and numbered 26/200 by the artist on the front 2...

Keith Haring Coloring Book (Artist Book of 20 Bound Offset Lithographs), 1985, 1986 Artist Book of 20 staple bound Offset Lithographs Plate signed on cover page; with publisher and a...

James Siena at PACE Gallery, 2019 Offset lithograph exhibition invitation (Hand signed by James Siena) 19 1/2 × 14 1/2 inches Unframed This exquisite fold...

Christopher Wool Martin Kippenberger Self-Portraits Poster, 2005 Offset lithographic poster in colours on smooth wove paper. 36 × 24 inches Published by Luhring Augustine Unframed T...

Brice Marden Elevation print (Hand Signed by Brice Marden), 2019 Offset lithograph. Hand Signed by Brice Marden Boldly signed in black marker by Brice Marden on the front 24 × 34 3/4 inches Provenance: Acquired from Gagosian gallery Publisher: Gagosian Gallery, NY Unframed Produced in 2019 on the occasion of the exhibition "Brice Marden: It reminds me of something, and I don’t know what it is." at Gagosian. This signed example was acquired directly from Gagosian gallery before they sold out. About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...

Joan Miró Extremely rare 2-sided lithographic announcement to Galerie Maeght vernissage, 1953 2 sided Lithographic invitation (header image shows both front and back on one panel) Un...

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

JOHN CHAMBERLAIN Leo Castelli Invitation, 1976 Offset Lithograph invitation 21 1/2 × 16 inches Unframed This rare vintage offset lithograph invitat...

NOTE: Shown framed for inspiration only; this edition is unframed and in mint condition (never framed): Thelma Appel The Magician, 2018 18 Color Silkscreen on 320 gram Coventry Rag ...

KAWS (after) Kaws Tokyo First mini poster, 2001 Offset lithograph poster 11 3/4 × 8 1/4 inches Unframed; unsigned In 1996, Brian Donnelly, now known by his...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

George McNeil Untitled Figure, 1986 Lithograph on paper. Publisher's and Printer's Blind Stamps Hand-signed, numbered 78/84 and dated by the artist on the front with publisher's and...

Accidents, Injuries and other Calamities poster Judy Chicago (Hand signed and inscribed), 1988 Offset lithograph on thin board (signed and inscribed by Judy Chicago) 26 × 20 1/4 inch...