Manhattan - Figurative Prints

Linda Stein, Gender Scrambling 778: Stein, Obama Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery ...

Linda Stein, Gender Scrambling 765: Obama, Romney, Bunch Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in the UK and Konstmuseet i Skövde in S...

Linda Stein, Gender Scrambling 848: Veteran Feminists of America Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of V...

Stephen Powers Everything is Shit Except You Love, ca. 2012 Silkscreen in colors on 254 GSM Coventry Rag Paper Hand signed and numbered 18/50 by the artist on the lower right front. ...

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...

Larry Rivers LARRY RIVERS (hand signed and inscribed first edition book), 1989 Hardback monograph with a dust jacket (hand signed and inscribed "Enjoy the Matisse" Signed, dated and inscribed by Larry Rivers in red marker on the title page 11 3/5 × 9 4/5 inches Lavishly illustrated hardback monograph with dust jacket on the occasion of the artist's career retrospective. Text is by the distinguished art historian and Princeton professor Sam Hunter. Hand signed, dated and dedicated in red marker on the title page. Inscription reads: To Joanne and Ira Enjoy the Matisse Larry Rivers, April 2, 1992 About the book: Hunter, Sam. LARRY RIVERS. 358 pp. with 400 illustrations, including 155 plates in color. Folio, cloth. New York, Rizzoli, 1989. New York: Rizzoli, 1989. First edition. Hardcover. 358 pages. Retrospective monograph on Larry Rivers. Features text by Sam Hunter. Includes 400 illustrations of which 155 are in color. Publisher's Blurb: Rivers' public persona as an artist combines that of bohemian outsider, sensualist and entertainer. His best-known images of the 1960s--Dutch Masters cigars, French money, cigarette packs--became Pop icons. Eschewing abstraction, he came up with startling, disquieting figures, such as his obese, sagging mother-in-law depicted in the nude with brutal honesty ( Double Portrait of Berdie ). Yet there is more to Rivers than the hipster, as this lavishly illustrated monograph by a former Princeton art historian shows. Hunter makes a case for Rivers as a social realist: witness his powerful construction piece Ghetto Stoop or recent works that include searching portraits of Primo Levi...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘The boy who left home to learn fear’. Hockney chose this story for its ...

Linda Stein, Betty Friedan 687 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits serie...

Howard Kanovitz Looking at Me (Signed twice with heart drawing and inscription), 1981 Colour Lambda print on vellum Pencil signed and annotated Artist Proof (AP) by artist on the fro...

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...

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 ...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

This print from Linda Stein's Covid Story series was developed while she sheltered in place on the 31st floor of her New York City apartment building. The imagery draws from recurrin...

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...

This is a black and white archival inkjet print on Canson Infinity paper. Hand signed and numbered by the artist, John Baldessari. To commemorate the 40th anniversary of Lincoln Cent...

Andy Warhol Rare broadside for Gotham Bookmart exhibition "Andy Warhol His Early Works, 1947 - 1959", 1971 Offset lithograph poster 18 × 12 1/2 inches Unframed (not signed) Accompan...

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 ...

Gender Scrambling 776: Astaire, Rogers Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery & Museum i...

Marilyn Minter RESIST T-Shirt (Hand signed and dated by Marilyn Minter), 2018 Silkscreened Cotton T-Shirt (XL), hand signed in indelible marker Boldly signed and dated 2018 in indeli...

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Black & Moorhead 145. The title, Le Beche, is The Shovel in English. Signed and dated in pencil under image at right.

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Linda Stein's Below the Eyes prints draw from her Profiles series—drawings, collages and paintings of facial profiles she made in the 1960s and 1970s when she was coming to terms wit...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

David Hockney Tribute to violinist Jascha Heifetz, 1988 Offset Lithograph Poster 15 × 34 inches Limited Edition of 100 Unframed (unsigned) Another example of this work was featured i...

Linda Stein, Gender Scrambling 850: Soft vs Hard Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery ...

Jim Dine Shoe (third state) 1973 Etching from one 20 x 26 in / 51 x 66 cm  copper plate Printed in black on sheet of 22 x 30 in / 56 x 76 cm  Copperplate Deluxe paper Edition of 15 w...

Linda Stein, Gender Scrambling 774: Obama, Sanger Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery...

Linda Stein, Gender Scrambling 773 Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in th...

Linda Stein, Gender Scrambling 762 Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in the UK and Konstmuseet i Skövde in Sweden. Stein's Gende...

Linda Stein, Gender Scrambling 799: Strong, Levin, Beckenstein Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Vic...

Linda Stein, Gender Scrambling 769: Stein, Romney, Obama, Hardacre Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of...

Linda Stein, Gender Scrambling 758 Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in the UK and Konstmuseet i Skövde in Sweden. Stein's Gende...

Linda Stein, Gender Scrambling 770: Obama, Abzug, Warren, Dufu Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Vic...

Linda Stein, Gender Scrambling 767 Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in th...

Linda Stein, Gender Scrambling 772: Abzug, Weiss, Powell, Bernstein Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections o...

Andy Warhol Flash portfolio colophon pages, JFK Assassination, 1968 2 Separate Silkscreens: (1) Silkscreen text on paper and teletype text; (2) colophon sheet in pencil and numbered XVII (from the edition of 26 (roman numerals) Hand-signed by artist, two silkscreen prints; the colophon sheet is hand signed by Andy Warhol; no signature on sheet with teletype 21 1/2 × 21 1/2 inches Unframed Note: measurements are for each sheet Catalogue Raisonne Reference: FS II.32-42 (not illustrated) Silkscreened colophon sheet of the edition XVII of the iconic "Flash" Portfolio; hand signed and uniquely numbered by Andy Warhol, plus silkscreened print with teletype text. These two prints from Warhol's iconic "Flash Portfolio" were selected for inclusion in the blockbuster Andy Warhol retrospective at the Whitney Museum in 2019. (see photos). The plaque on the Whitney exhibition (also see included photo) describes the portfolio as follows:" These screenprints reflect Warhol's ongoing interest in the Kennedy assassination, an obsession that intensified following the release of the Warren Commission report and the publication of stills from a short home movie of the event, published by bystander Abraham Zapruder. Flash - November 22, 1963 is an unbound Artists Book with text based upon the original Associated Press newswire bulletins. For his illustrations, Warhol appropriated the recurring image of Kennedy from a 1960 campaign poster, and sourced the remaining photographs, including pictures of Lee Harvey Oswald and an ad for the type of rifle used, from Life's [Magazine] sustained coverage of the assassination and its aftermath.." The present sheet begins with the following teletyped text: "THE TWO WOUNDED MEN WERE RUSHED TO EMERGENCY ROOMS, AND THE HOSPITAL'S PUBLIC ADDRESS SYSTEM RANG WITH CALLS FOR ALL STAFF DOCTORS. FLASH DALLAS - TWO PRIESTS SUMMONED TO KENNEDY X IN EMERGENCY ROOM BULLETIN 3RD ADD 2ND LEAD KENNEDY XX DOCTORS TWO PRIESTS ENTERED THE EMERGENCY ROOM WHERE THE PRESIDENT WAS BEING TREATED AT 12:49 P.M. (CST). THERE WAS STILL NO OFFICIAL WORD ON THE PRESIDENT'S CONDITION. ASSISTANT WHITE HOUSE PRESS SECRETARY MALCOLM XXX KILDUFF SAID "I JUST CAN'T SAY. I JUST CAN'T SAY." FLASH -- PRIESTS SAY KENNEDY DEAD. .""" (the text on the page continues; this is just a partial excerpt.) Racolin Press, Briarcliff Manor, New York Two Andy Warhol silkscreens on white wove paper comprising the signed colophon and text pages of his iconic 1968 "Flash" Portfolio, as well as Warhol's wraparound silkscreen of the distinctive teletype text. The colophon page silkscreen is hand signed by Andy Warhol and uniquely numbered XVII in pencil from the edition of 26, which, it expressly states, was not for sale. The second silkscreen sheet features teletype print describing events surrounding the assassination of President John F. Kennedy - the defining event of a generation as contemporaneously re-imagined by the most important Pop artist of the era. Warhol created the "Flash - November 22, 1963" portfolio of prints in 1968 to depict the continuing media spectacle surrounding JFK's assassination. He named the portfolio after the news flash Teletype texts that reported the assassination and its aftermath - the first major news event played out live on TV. The Flash portfolio includes a series of eleven silkscreens depicting President Kennedy smiling broadly, a presidential seal with bullet holes through it, and other symbolic representations of that tragedy. The portfolio's cover includes an image of the New York World-Telegram front page with the headline "President Shot Dead." Warhol used screen printed...

Takashi Homma Tokyo (hand signed, inscribed in Japanese and dated by Takashi Homma), 2008 Softback monograph with dust jacket, roughcut and deckled edges...

Grasset, Eugene."Belle Jardinaire," Proof for the calendar "Belle Jardinaire" 1896. On China paper produced for the month of August, 12 7/8 x 9 7/8"

This print depicts the tangle of barbed wire encircling curling and twisting neon, with lengths of wood at the center. The dark paper sets off the electric blue, and captures the ori...

ABOUT THIS PIECE: Amanda Pratt is known and admired for the energetic, inspiring brand of whimsy she brings to photography. Countless clients have benefitted from her technical preci...

An old sailor is shown at work on a what must be a huge sailing vessel. He's splicing, or joining ropes together -- probably still a useful skill in the mi...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography, thus s...

Christo at Leo Castelli Gallery New York (Hand Signed), 1966 Extremely rare Offset Lithograph Poster announcement Boldly hand signed by Christo in blue marker on the lower left front. Addressed to the influential (legendary) art critic Pierre Restany...