Manhattan - Figurative Prints

It's clear to me that that baby carriage is so beautifully drawn that it could be re-constructed from here if necessary. Without really knowing anything about Lucile Haynes I'm sure...

Black & Moorhead 158. In just the middle inch or so of this image Hayter has managed to draw in a female nude and a horse, with special attention to the head. It was Hayter's custom ...

From a portfolio produced to commemorate the Kelpra Studio Exhibition at the Tate Gallery, London, July-August 1980. Published by Kelpra Editions and the Tate Gallery. Printed at Kel...

Lucian Freud The Egyptian Book 1994 Etching on T.H.S. Saunders paper 18 1/4 x 16 3/4 inches; 46 x 43 cm Edition of 40 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks...

Richard Prince It's a Free Concert (Hand Signed by Richard Prince), 2014 Offset Lithograph (hand signed by Richard Prince) Hand signed by the artist on the front Unnumbered 33 × 23 3...

This is a true collectible! The regular edition of only 100 is hand signed and numbered by Larry Rivers; but the present work is ALSO hand signed and inscribed by George McGovern- a ...

Richard Lindner Adults-Only, 1979 Offset lithograph poster Plate signature with date, right front Limite Edition of 500 (unnumbered) Frame Included: held in vintage 1970s metal perio...

This large scale minimalist black and white zen cliff landscape features Buddhas with mudra hands in India. Deities in the lotus yoga position with flo...

This beautifully harmonized and intriguing Mid-Century Modernist Lithograph entitled Les Deux Personnages (The Two Characters) is by the Russian artist Mihail Chemiakin and originate...

Muller-Brockmann, Josef. Schutzt Das Kind! Automobil-Club der Schweiz 1953. On linen Offset. Minor imperfection otherwise in good condition 50 x 35 7/8". Pioneer of Swiss Graphic...

Dennis Corrigan gives us a fresh, admittedly whimsical, interpretation of the important nineteenth-century American author, Nathaniel Hawthorne. Known to most of us for the 'dark rom...

Richard Haas Central Synagogue - Lexington Avenue Looking North, 1991 Etching and aquatint on wove paper Signed, dated and numbered 8/35 in graphite pencil on the front; bears the or...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Asa Cheffetz Ramshackle Barn (de-accessioned from the Denver Art Museum), ca. 1929 Wood-engraving Pencil signed, numbered 27/100 and titled by the artist on the front 13 × 10 1/4 inches Unframed - affixed to matting De-accessioned from the collection of the Denver Art Museum Asa Chaffetz, "the engraver's engraver" This is the original numbered wood engraving from 1929; not a later re-print This print was honorable mention in the International Exhibition of prints, Art Institute of Chicago, 1929 Exhibited: New England engraved: The prints of Asa Cheffetz: An Exhibition of his wood engraving & an exploration of his life as an artist. Springfield, MA: Museum of Fine Arts, 1984 (A different example) Asa Cheffetz Biography: Born in Buffalo, New York, Cheffetz studied at the School Of The Museum Of Fine Arts in Boston under Philip Leslie Hale...

Nassos Daphnis Structures (Rare Leo Castelli Gallery invitation), 1963 Offset Lithograph poster/invitation 22 × 16 inches Publisher Leo Castelli Gallery Accompanied by gallery issued...

Larry Rivers Homage to Vladimir Ilyich Lenin, signed and inscribed to Arthur Gold and Robert (Bobby) Fizdale, 1973 Lithograph and Screenprint on Paper Hand signed and inscribed on lo...

Jonas Wood VOTE, 2018 6-color screenprint on Coventry rag paper Hand signed, dated and numbered from the limited edition of 300 by Jonas Wood on the front 20 3/10 × 14 3/5 inches Unf...

Owen Weiri (also Wiiri, 1916-1974) was a Finnish-American who served in the Spanish Civil War and then, during World War ll, in the American armed forces as a marine. Industrial sub...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

Gilbert & George Gilbert and George Major Exhibition, Tate Modern (Hand Signed), 2007 Offset Lithograph Poster Hand signed by Gilbert & George on the front 30 x 20 inches Unframed E...

Anna Barry (1907-2001), and her husband, the artist Ira Moskovitz, spent years in New Mexico in the late 1930s and 40s. They returned permanently to New York City in 1949. The screen print (also known as silk screen or serigraph) Navajo Yei...

James Strombotne Love, 1965 Lithograph with Deckled Edges Hand signed, dated and annotated "Bon a Tirer" on the front; with publishers blind stamp (the regular edition was 20) 30 × 2...

H.C. Westermann, Thomas Kapsalis Rare artist designed early poster: Westermann and Kapsalis Sculpture at Four Fourteen Art Center and Gallery Chicago, 1957 Historic offset lithograph poster designed by both artists Not signed 17 × 22 inches Unframed This extremely rare poster on handmade paper was published for the Tom Kapsalis/H.C. Westermann sculpture exhibition at 414 Art Workshop and Gallery, Chicago Momentum, 1020 Art Center, Chicago in December 1957. The poster was hand designed by both artists, with each one designing his respective half for a cohesive whole, for an exhibition at a small, now defunct regional art center in the late fifties -- so it's not unreasonable to believe that there just aren't too many of these out there anymore. A must have for anyone seriously involved in the careers and legacies of each or both of these sculptors. About H.C. Westermann: American artist Horace Clifford Westermann (Los Angeles, 1922 – Danbury, 1981) assembled a distinctive and singular body of sculptures. His works were predominantly made from wood through his masterly command of carpentry and cabinetmaking, yet he also used other techniques and materials such as metal, glass and enamelling with incredible precision. Without adhering to one particular style, Westermann was a maker of objects, of separate pieces: his sculptures, laden with meaning, often irony, result from the processing of experience, coalescing to yield specific fragments of reality. It is the course of these fragments that the retrospective presented by the Museo Reina Sofía follows. A concern with going back to shelter would soon emerge, be it in the home or the body —and blighted by the threat of confinement and death. Also, stubborn or helpless figures would recur through Westermann’s oeuvre. The motif of the “death ship” runs right through the breadth of his production as well, pointing, on one side, to continued wandering and latent abandonment and, on the other, to a determined pursue of refuge which seems to hold firm across his work. At the turning point of the 1960s, Westermann’s sculptures drew from mass culture, and made part of several exhibitions of the new realisms, when the “cold” tag of Pop art had not yet fully taken shape. The exhibition presents this output and the “specificity” of Westermann’s objects, which interested Donald Judd in 1963. In later pieces his work increasingly deals with the absurd, either through playfulness with language, in the confusion between work and instrument, or with references to the impermanent Besides the sculptures, the show displays Westermann’s paintings, letter-drawings —in his correspondence with other artists, critics and friends— and series of prints, in which he applied vibrant colours to address themes such as an escapist, while critical depiction of the American scene; catastrophe, and fragility. A graduate from the School of the Art Institute of Chicago in 1954, Horace Clifford Westermann produced most of his work from a small town in Connecticut, where he settled in 1961. He regularly exhibited his work in New York, and occasionally in Chicago and on the West Coast. Courtesy of Venus Over Manhattan About Tom Kapsalis: One of Chicago’s great abstractionists, painter Thomas H. Kapsalis (born 1922) has been an important artist and educator since the late ’40s, when he graduated from the School of the Art Institute. A prisoner of war in Germany, captured during the Battle of the Bulge, Kapsalis returned to continue his pursuit of art-making, eventually returning to Germany in the early ’50s on a Fullbright-Hays Fellowship to study with Willi Baumeister. He has taught at the School of the Art Institute since 1954, and his work has been exhibited in numerous group and solo shows. Among the honors bestowed upon Kapsalis are Huntington Harford Foundation Grants (1956, 1959); Robert Rice Jenkins Prize, Chicago & Vicinity Exhibition, Art Institute of Chicago (1956); Pauline Palmer Prize, Chicago & Vicinity Exhibition, AIC (1960); Mr. & Mrs. Julie F. Brower Prize, Chicago & Vicinity Exhibition, AIC (1969). Courtesy of Corbett vs...

Robert Indiana "My portrait was taken on Coenties Slip"...., 1993 Handwritten letter on an offset lithograph postcard Boldly signed in black marker under the letter 4 2/5 × 7 3/5 inches Unframed Unique one-of-a-kind hand written, hand signed note from Robert Indiana, dated 23 VII '93, written on the postcard depicting Robert Indiana's work "Mother and Father", published by the Farnsworth Museum in Maine. The note, done in black marker, is addressed to Don Allan II of Barrington, N.H. and reads" "DON - MY PORTRAIT IF YOU DO NOT KNOW, WAS TAKEN ON COENTIES SLIP IN NYC". Robert Indiana then signs the note.. (Presumably, the reply is in response to a letter or question this fan sent to the artist asking where Indiana's portrait was taken). Makes a great gift for Robert Indiana fans! Coenties Slip is a historic artist's address in the New York art scene - there was even a book written about it! Coenties Slip is a street in the Financial District of Manhattan in New York City. It runs southeast for two blocks in Lower Manhattan from Pearl Street to South Street. A walkway runs an additional block north from Pearl Street to Stone Street Here's an excerpt from Art in America reviewing the book: "How does specificity of place play a role in art, enough to become more figure than ground, less a context than a character? This is one of the larger questions framing art historian Prudence Peiffer’s momentous new survey The Slip: The New York City Street That Changed American Art Forever. The book vividly documents a moment in the 1950s and ’60s when a cast of artists settled, at staggered intervals, in a three-block area around Coenties Slip, a street on Manhattan’s lower tip. Coenties Slip borrowed its name from one of the “slips”—inlets for the docking and repairing of boats—that once cut sharply into New York’s downtown waterfront, facilitating the busy circulation of fish, freight, and sailors between land and sea. While New York’s status as a maritime trading hub lured fleets of boats, it was the skeletal remains of that activity, by then sharply diminished, that drew artists to Coenties Slip. In place of industry, they found vast and vacant loft spaces, cheap to rent, in which they could both work and live (illegally, owing to zoning laws)....Peiffer’s book arrives nearly 50 years after the earliest attempt to honor the Slip: the 1974 exhibition “Nine Artists/Coenties Slip,” organized for an old downtown branch of the Whitney Museum on Water Street nearby. The exhibition showcased lesser-known inhabitants of the Slip, including Fred Mitchell (the first to settle there), Ann Wilson...

Tracey Emin Strangeland (Hand signed, dated and inscribed by Tracey Emin), 2005 Hardback monograph with dust jacket (hand signed, dated and inscribed for Ann by Tracey Emin) Hand sig...

Philip Treacy hardback book (hand signed by Philip Treacy), 2013 Hardback monograph with dust jacket (hand signed by legendary milliner Philip Treacy) hand signed by Philip Treacy on the half title page 11 × 8 1/2 × 1 inches Hand signed by Philip Treacy on the half title page. Book information: Publisher: Phaidon Press (February 5, 2013) English; Hardcover; 200 pages with over 200 photographs Review "Lovely... All the most iconic designs are here."―The Observer "How did one man change our minds on headgear? Philip Treacy by Kevin Davies celebrates [...] backroom moments of Treacy's career, no less striking than the headpieces he creates... The unseen stories behind all the 'moments'."―The Independent "An usually revealing insight into the designer's work."―Harper's Bazaar "Revealing [...] photos of Treacy at work. He looks determined and serious, but he has a kind face and he's never a poseur... In short, this is a cool book about a great guy."―VICE "The head-topper extraordinaire gets a tip of the cap in the new book... Featuring over 200 images of the milliner's museum-quality lids, including head-turning snaps of mega-fierce singer and Bond villainess Grace Jones."―InStyle "Inside the pages are 200 intimate pictures covering everything from Treacy's years at 69 Elizabeth Street to the scene backstage at fashion shows to the dignified funeral held for Treacy's beloved Jack Russell terrier, Mr. Pig."―The New York Times Style Magazine blog More about Philip Tracey...

Arnold Iger Lily (Readers Digest Association Art Collection), 1988 Intaglio (Hand Signed, Dated, Titled, Numbered & Framed) Signed in pencil lower right recto Numbered "77/350" on lo...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered 8/25 lower left in pencil. Printed in inky black, Fjord features a close-up view of the water as it meets the shore. Yorkshire is famous for its rocky coastline, where fishing villages cling to cliffs, windswept abbeys peak above the skyline, and sand beaches attract families on vacation. Moore’s scene is dark and even sinister – the shore’s narrow inlets reaching into the water like gnarled fingers. Fjord displays Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. Fjord is one of a group of lithographs...

Alex Katz Alex Katz Black and White (Hand signed by Alex Katz), 2017 Hardback monograph with no dust jacket as issued (Hand signed by Alex Katz) Hand signed by Alex Katz on the first...

Isaac (sometimes Isac) Friedlander's large wood engraving, My People, 1944, reflects his genuine social interest. After a youth of extreme hardship, including incarceration in a czar...

Tadashi Kawamata Untitled for the Relocation Project, Serpentine Gallery, London, 1997 Screenprint on wove paper Pencil signed, dated '97 and numbered 169/180. 34 1/2 × 24 3/4 inches...

The reference number on this work is Kraeft 88. It's from an edition of 100 and is signed, dated, and numbered, in pencil. Always an intaglio printmaker, Landeck switched from a mor...

This cheeky, pastel pink print depicts a range of intimate styles, a tongue-in-cheek recollection of the gridded haircuts displayed outside barber shops. It is from the Oo La La portfolio of 15 lithographs printed offset from zinc plates, drawn by both artists. Produced in collaboration with Ron Padgett...

Jasper Johns Target with Four Faces (Hand signed by Jasper Johns), 1968 Offset lithograph poster (hand signed and dated by Jasper Johns) Hand signed and dated April 8, 1985 by Jasper...

Raymond Saunders Los Angeles 1984 Olympic Games (Hand Signed with Olympic Committee COA), 1982 Lithograph Signed in graphite pencil on the front. Accompanied by a letter of authentic...

Rona Pondick NO NO, 1995 Printed letterpress on Somerset 6 × 6 inches Edition 81/100 Pencil signed and numbered verso. Also bears unique inventory number Unframed

James Rosenquist Somewhere to Light, WACO, Texas 1966, from the New York International Portfolio Lithograph on wove paper Pencil signed and numbered 112/225 on the front Catalogue Ra...

Kent Hagerman was an amazing draftsman who managed to get fantastic detail into his work while showing the environment and atmosphere. This print captures the moment a 'pod' is bein...

Jane Hammond Untitled 1996 Signed and numbered Lithograph (Edition of 50) 12 x 9 inches

Keith Haring Pop Shop: Rare larger sized, vintage original Keith Haring 1980s Pop Shop bag designed by Haring for use at his famed New York store. A classic Keith Haring Pop Shop col...

The Young Couple (Cole 141), 1971 Color etching and aquatint. Signed. Titled. Numbered Pencil signed, titled and numbered 209/225 on the front Catalogue Raisonne: Cole, 141 Unframed ...

Helen Greene Blumenschein was born in Brooklyn into a parents who were already professional artists. The family moved to Taos when Blumenschein was ten and they became part of the a...

Jonas Wood Paintings (Hand Signed Inscribed), 2019 Gagosian catalogue monograph, hand signed, dated and inscribed to Jane Hand signed, dated and inscribed by Jonas Wood to Jane...

Vik Muniz Paper Beads for Tanzania (Hand Signed by Vik Muniz), 2016 Color offset Lithograph (Hand signed) Boldly signed in black marker by Vik Muniz on the front. 36 × 24 inches Unfr...

Dennis Oppenheim Image Intervention (Hand Signed), 1984 Offset Lithograph (hand signed and dated by Dennis Oppenheim) Hand signed and dated on the middle front 28 × 20 inches Unframe...

Jonas Wood Face Painting (Hand signed and dated), 2019 Offset lithograph poster. Hand signed and dated with artist's trademark basketball flourish Boldly signed and dated by Jonas Wo...

David Driesbach studied at the University of Illinois in 1940 and 41. In 1942 he enlisted in the Marines and served until 1945. His artistic education ...

Peter Blake 110 Years of Vauxhall, 2013 Silkscreen on Linen Hand signed and numbered 80/110 by the artist on the front 9 × 17 inches Unframed Sir Peter Blake is one of the most successful British Pop artists from the fabulous 1960s, and his work can be found in major museums and collections worldwide. He is best known for creating the sleeve design of the Beatles' album Sgt. Pepper's Lonely Hearts Club Band. It was with the Young Contemporaries exhibition of 1961, where he exhibited alongside David Hockney and R.B. Kitaj, that Blake rose to prominence. Blake created this limited edition print, a tribute to the Art Car, exclusively for the Vauxhall Art Car Boot Fair 2013. The work sold out completely in less than 15 minutes. It is in excellent condition. Pencil signed and numbered from the limited edition of only 110. The excitement of the event was described in a British news report as follows: "Now in its 100th year, the fair it featured work by over 70 renowned artists including Sir Peter Blake, Gavin Turk, Emin International, Polly Morgan, Mat Collishaw...

Mel Ramos 50 Years of Pop Art (Hand signed, dated and inscribed to Nadine by Mel Ramos), 2010 Softback monograph with dust jacket (hand signed, dated and inscribed by Mel Ramos) Hand...

Will Barnet: A Timeless World (hand signed, dated and warmly inscribed), 2000 Softback monograph with stiff wraps (hand signed, dated and warmly inscribed) Hand signed, dated and warmly inscribed to Margo by Will Barnet on the half title page 12 × 9 × 1/2 inches We believe the colleague Margo refers to renowned African American artist Margo Humphrey, who also worked at the Rutgers Center for Innovative Printmaking with Will Barnet. The full inscription reads: Sep 21 2000 To my colleague -Margo- with appreciation and affection Will Barnet Book information: Published by the Montclair Art Museum, New Jersey and Distributed by Rutgers University Press English; Paperback; 124 pages containing 43 color and 20 black-and-white illustrations Publisher's blurb: Painter and printmaker Will Barnet has actively participated in the New York art world for nearly 70 years. A leading figure in the Indian Space painting movement of the late 1940s, Barnet stressed the spatial structures of Northwest Coast Indian art. Throughout the 1950s and into the 1960s, he made a series of hardedged, totemic abstractions marked by their "all-positive" space, which he described as austere, classical expressions of Indian culture. He then moved on to new art forms in the 1960s and 1970s, creating a series of family and art world portraits that achieved a remarkable balance between the formal demands of abstraction and the humanist aspects of representation. Will Barnet: A Timeless World is the first substantial publications to unify Barnet's prodigious output. Art historian Gail Stavitsky provides an overview of this artist's entire career. Twig Johnson, the museum's curator of Native American Art, discusses the relationship of Barnet's work to this important indigenous artistic tradition. Jessica Nicoll, chief curator at the Portland Museum of Art, explores the profound impact of New England upon Barnet and his work. Many of Barnet's works are beautifully reproduced in this catalog, containing 43 color and 20 black-and-white illustrations. More about Will Barnet: Will Barnet was born in Beverly, Massachusetts in 1911. He has taught and exhibited widely over his more than seventy-five year career. His works are in the collection of virtually every American museum, including locally The Guggenheim Museum, The Metropolitan Museum of Art, The Museum of Modern Art, and The Whitney Museum of American. He is an elected member of the American Academy of Arts and Letters. In fall 2011 the National Academy Museum will present a retrospective exhibition being organized by Bruce Weber. Barnet is represented exclusively by Alexandre Gallery...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a woman peeks out from loops and knots of thick cord, a modern-day Laocoön and His Sons. She seem...

The etching (Sheep under a Tree) is signed in pencil and annotated (in lower margin) '3rd State, 4 proofs, JN imp.' in pencil. It's in an usually spare drawing style but one that Na...

Lucian Freud Susanna 1996 Etching on Somerset Textured White paper 20 x 19 5/8 inches; 51 x 50 cm Edition of 40 Initialed and numbered in graphite (lower recto) Frame available upon request Published by Matthew Marks Gallery...

Mary Cassatt: Graphic Art at Smithsonian Institution Traveling Exhibition poster, 1981 Offset lithograph poster 22 × 18 inches Unframed and unsigned Publisher: Smithsonian Institutio...

Robert Indiana Vintage Stable Gallery exhibition poster (hand signed), 1962 Silkscreen on wove paper Signed in the artist's shorthand signature with a love doodle on the back Unnumbe...

Zevs Liquidated LV, 2017 Screnprint 58" x 46 " Edition of 20 signed and numbered in pencil Zevs is an anonymous contemporary French graffiti artist...

Albert Abramovitz was working in New York in the 1930s when he made wood engravings of the construction of the Moscow subway. This image, The Wagonette, is a wrenching testament to t...

Red Grooms Ruckus Manhattan (Hand signed), 1981 Historic Offset lithograph poster (hand signed by Red Grooms) 11 × 28 inches Hand signed by Red Grooms on the front Unframed The artis...

A perfect summer day. A young mother, little boy, and even smaller girl have their luncheon under a make shift 'fly' -- a stripped cloth canopy fixed up with poles. Although it is titled 'Seaside Nomads,' to me it has the look of a bay or inlet. It's relatively flat and there are all sorts of grasses, old...