Manhattan - Abstract Prints

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Raymond Pettibon: Rare original 1983 Black Flag flyer (postmarked): Black Flag at S.I.R., Nov 27, 1982: Flyer / Handbill for gig by Black Flag, DOA, Descendents, and Wasted Youth fe...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Zevs Liquidated Google, 2013 Screenprint in colors on Arches 88 300gsm paper 16 7/10 × 25 2/5 in 42.4 × 64.5 cm Edition 9/75 Hand signed and numbered 9/75 on the front Bears publish...

The simple geometries and bright colors that recur throughout FEMM’s, have an inherently contemporary and urban feel. It’s no wonder, then, that the metropolitan city is one of FEMM’s greatest sources of inspiration. Whether it’s the zestful energy, the colorful clothes...

Ajay Malghan is an American artist and son of immigrant parents from India. His mother was usually found combining cultures at home, and his father, a Materials Scientist and Enginee...

ABOUT THIS ARTIST: Clara Masiá lives in Barcelona and studied art and design at Massana School. As an illustrator, Clara considers herself a very observant and detailed person where ...

Alexander Calder McGovern for McGovernment (Signed by BOTH Alexander Calder and George McGovern), 1972 Lithograph on wove paper with deckled edges. Hand signed and Numbered by Calder...

ABOUT THIS PIECE: Color is the foundation of this Canadian artist's work. Her circles start as a mood or idea that eventually evolve into a colored circle. She is curious how differe...

ABOUT THIS PIECE: Inspired by the warm light, open vistas, and saturated colors of her birthplace (Southern California), Julianna Goodman’s collages often distill memories of nature ...

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

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

ABOUT THIS ARTIST: Ioannis Lassithiotakis aims for an abstract universality: He uses the simplest visual materials because he wants to broach th...

ABOUT THIS PIECE: Color is the foundation of this Canadian artist's work. Her circles start as a mood or idea that eventually evolve into a colored circle. She is curious how different colors interact when they're placed next to each other. Within a digital medium she experiments with intensity of colors and the different sensations colors evoke. Why a circle? When she explores her fascination with this shape, she discovers that the circle represents all that is familiar and comforting. It is the shape of the rising sun, of a mother's nipple, of the iris of the eye, and of a full moon. ABOUT THIS ARTIST: Ruth Adler is a Canadian artist whose mediums include paintings, works on paper, animated films and textiles. She is inspired by the city of Tel Aviv, music (she plays the harmonica) and her personal memories. Jim Kempner Fine Art...

In the center of a royal blue field of color, Ricard has scrawled “Jasper Johns over 34,000,000 sold”.  Ricard’s work brims with cultural references: with this statement he positions...

Alexander Calder’s ‘Escargot’ lithograph showcases his playful yet sophisticated approach to abstraction, combining organic form with bold color and dynamic composition. The title, w...

Jack Levine Vintage 1970s Kennedy Galleries poster (Hand signed and warmly inscribed), 1972 Offset lithograph poster (Signed, dated and inscribed in black marker by Jack Levine) Sign...

Gary Hume Falling Bear 1995 Silkscreen 32 3/4 x 26 inches; 83 x 66 cm Edition of 25 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available fro...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Joh...

Ai Weiwei Crabs, 2010-11 Limited Edition, hand numbered Silkscreen on 100% Canadian 2-Ply Maplewood Skateboard. Signed on the deck 31 × 1 × 3/10 inches Edition 126/150 Signed on the ...

Monoprint with water based ink and graphite

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Engraving by Louise Bourgeois, 2002, hand signed, numbered and inscribed to her longtime printer Judith Solodkin of Solo Impressions, accompanied by an actual horseshoe gifted by the...

ABOUT THIS PIECE: Briggs Edward Solomon's artwork is known for its balance and juxtaposition. It is a collaboration of simplistic and contemporary colors. It is subtle, yet bold. It ...

ABOUT THIS PIECE: Alberto practices high-speed photography. He has mastered the balance of pouring varnish into water and using his high-speed photography knowledge to capture the mo...

ABOUT THIS PIECE: Alberto practices high-speed photography. He has mastered the balance of pouring varnish into water and using his high-speed photography knowledge to capture the mo...

Leonard Baskin (1922-2000) Untitled, Late 20th Century Woodcut Framed: 32 x 24 1/4 x 1/4 in. Edition 26/50 Signed and numbered lower right A highly respected draftsman, printmaker, ...

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...

ABOUT THIS PIECE: Since 2008 fine art photographer Jonathan Chritchley has regularly been invited to attend the Classic Yacht Regattas on the legendary Cote d’Azur in France, working...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Dennis Oppenheim A Device for Converting a Chilling Underground Wind into Memory, 1986 Lithograph Hand signed, numbered 3/100 and dated on lower front 38 1/5 × 50 inches Unframed P...

Andrea Belag Disclosed II, 1989 Color monotype on paper Signed, titled, dated and annotated Monotype on the front Unique Printed and published at Pelavin Editions with copyright vers...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives...

ABOUT THIS PIECE: "This particular series is a an homage to photographs taken with film. They are the result of an aberration of light passing through a locked shutter and the camera...

Kurt Schwitters 50 Collages by Schwitters, 1962 Lithograph and Silkscreen 22 × 17 inches Unframed Extremely rare and desirable lithographed exhibition poster published on the occasio...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issue...

ABOUT THIS PIECE: Since 2008 fine art photographer Jonathan Chritchley has regularly been invited to attend the Classic Yacht Regattas on the legendary Cote d’Azur in France, working...

Jasper Johns Recent Still Life (Hand signed and dated by Jasper Johns), 1966 Collotype. Hand signed and dated by Jasper Johns Edition of 2100 (this work is, exceptionally, hand signed dated by Johns; the regular edition is not) Signed and dated lower right front by Jasper Johns in graphite pencil August, 27, 2008 Provenance: Estate of artist and noted collector Rick Collar Framed - held in original vintage frame under plexiglass This scarce early (1966) limited edition collotype was published on the occasion of the exhibition "Recent Still Life" at the Museum of Art, Rhode Island School of Design. The regular unsigned edition was 2100, and the official signed edition was 100; however, exceptionally, Jasper Johns signed...

Dorothy Dehner Untitled from Lunar Series, 1971 Rare Lithograph on white Arches paper 22 × 27 inches Pencil signed, dated and numbered; with inscription including unique series numbe...

Richard Anuszkiewicz Celebrate New York (hand signed limited edition poster), 1974 Silkscreen on wove paper Hand-signed by artist, signed, dated and inscribed "to Lowell" on the fron...

This abstract composition features a cropped view of the words SIGHT SEEING, in bold all-capital lettering. Roses fill the top line of text, and the bottom line of text in white is s...

Richard Smith Seven from Logo Suite (Pink Blue), 1971 Silkscreen on 3-D Molded Plastic Over Wood Pencil signed, dated and numbered 65 from the edition of 75 on the front 23 1/2 × 19 ...

Gary Hume Bird with Pink Beak 2009 Five-color screenprint on Somerset Satin White paper 17 3/8 x 14 7/8 inches; 44 x 38 cm Edition of 45 Signed, titled, dated, and numbered in graphi...

Clinton Hill (1922-2003), lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and beca...

John Waters Visit Marfa, the Jonestown of Minimalism (Donald Judd, Carl Andre, John Chamberlain), 2003 Offset lithograph Pencil signed and numbered 9/100 on the back; there is a die-...

In this unique Michael Hurson monotype, stylized Greco-Roman pillars flank a plane of crosshatched and dotted texture in black, brown, and purple ink. The...

Richard Serra Marilyn Monroe - Greta Garbo Poster (Hand Signed by Richard Serra), 1982 Offset Lithograph poster published by Leo Castelli Gallery Hand signed on lower front in black ...

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

Alan Shields Lonely Night, 1969 Screenprint and Pochoir with collage on perforated paper Pencil signed, numbered and dated from the limited edition of 100 Unframed Mixed media colla...

R.B. Kitaj POGANY, 1966 17 colour Screenprint and Photo-screenprint 24 × 36 inches Pencil signed and numbered from the Limited Edition of 70 Hand-signed by artist, Signed & numbered ...

Shepard Fairey God Save the Queen, (UK) and Land of Liberty (US) 2012 Screenprint on cream speckle tone paper 24 × 18 inches A rare, pencil signed Artists Proof, aside from the regu...

b. 1938, Lithuania Kes Zapkus has always been intrigued with analyzing and tracing thought processes. By juxtaposing images of architectural building plans conceived of by several u...

Shusaku Arakawa Untitled 3 from "No!" Says the Signified, 1973 Lithograph and Silkscreen on Arches Paper with Deckled Edges Hand signed and dated on the lower right front Artist's Pr...

This elegant mezzotint print, entitled, "Nature morte au coquetier", was realized by the esteemed artist Mario Avanti in France, 1962. It depicts a stylized rendition of a dove as a ...

Lucas Samaras Samaras at Whitney Museum of American Art Exhibition Poster, 1973 Offset lithograph poster 32 × 24 inches Unframed This early vintage poster was published for the Samar...

Victor Vasarely Rare 1960s Victor Vasarely poster, 1967 Offset lithograph 35 × 19 1/4 inches Unframed, unsigned Published by London Arts Group Rare 1967 offset lithograph The work...