Manhattan - Interior Prints

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed by Frank Stella) Fra...

ABOUT THIS PIECE: French photographer Ludwig Favre continues his series on empty architectural spaces at La Sorbonne. Our curators recommend the work large format and framed in simpl...

Large black and marigold orange abstract interior scene of a bust in front of a window with fingerprints and painterly brushstrokes. Rich color and texture ideal for hanging in minim...

Vintage poster for the 1982 Summer Festival season of the San Francisco Opera. David Hockney designed the whimsical sets and costumes for the San Francisco Opera's production of Igor...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary...

Shading in bright turquoise above a Southwestern style thunderbird Kilim rug adorns this original exhibition poster for David Hockney's 1969 show at Andre Emmerich, New York. This po...

Philip Guston at David McKee Gallery (pencil signed by Philip Guston), 1974 Lithograph and offset lithograph poster Signed in graphite pencil under the image 24 1/2 × 20 inches Unframed, unnumbered Rare vintage lithographic poster of 1974 Guston exhibition at David McKee Gallery Signed under the image in graphite pencil by Philip Guston Another hand signed edition is in the permanent collection of Vassar College; otherwise we haven't seen another besides the present work; a true collectors item when hand signed by the artist. Philip Guston Biography Philip Guston (1913 – 1980) is one of the great luminaries of twentieth-century art. His commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. Born in Montreal, Canada, in 1913 to poor Russian Jewish émigrés, Guston moved with his family to California in 1919. Briefly attending the Otis Art Institute in Los Angeles in 1930, he was otherwise completely self-taught. Guston’s first precocious work, Mother and Child, was completed when he was only seventeen years of age. Influenced by the social and political landscape of the 1930s, his earliest works evoked the stylized forms of Giorgio de Chirico and Pablo Picasso, social realist motifs of the Mexican muralists, and classical properties of Italian Renaissance frescoes of Piero della Francesca and Masaccio that he had seen only in reproduction. Painted in Mexico with another young artist, the huge fresco The Struggle Against War and Fascism drew national attention in the US. Guston’s success continued in the WPA, a Depression-era government program that commissioned American artists to create murals in public buildings. While not widely known today, the young artist’s early experiences as a mural painter allowed a development of narrative and scale that he would draw upon in his late figurative work. In the early 1940s, as the WPA program was ending, Guston found work teaching at universities in the Midwestern United States. In his studio, he was working in oils on easel paintings that were more personal and smaller in scale, focusing on portraits and allegories, like Martial Memory and If This Be Not I. His first solo exhibition in Iowa was well received and, within a few years, he was offered his first solo show in New York City. Guston was awarded a Prix de Rome, allowing him to leave teaching and spend a year in Italy, studying firsthand the Italian masters he loved. By the time he had finished The Tormentors, Guston’s move to abstraction was all but complete. On his return from Italy, he continued dividing his time between the artists’ colony of Woodstock in Upstate New York and New York City, which was then emerging as the center of the postwar art world. He rented a studio on 10th Street, where abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko also worked. For Guston, success was never what mattered most. He was already impatient with the language of pure abstraction and experimenting with larger forms, using a limited palette of grays, pinks and blacks. As his forms became still more reduced, he stopped painting altogether and embarked on a series of simplified abstract “pure drawings” in brush or charcoal. At this juncture, Guston removed himself from the art scene in New York, living and working in Woodstock for the remainder of his life. Guston’s move ­was hardly a withdrawal. Freed from the distractions and formal constraints of the art world and the opinions of critics, he was able to experiment with new forms and to engage more deeply with the issues that mattered to him. The 1960s was a period of great social upheaval in the United States, characterized by assassinations and violence, civil rights and anti-war protests. “When the 1960s came along I was feeling split, schizophrenic,” Guston later said. “The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines...

Julian Schnabel NEMO LIBRIZZI 1998 25-color silkscreen with poured resin 38 x 36 inches (97 x 91 cm) Signed and numbered edition of 90 Suite of 3 Also available Born in Brooklyn,...

ABOUT THIS PIECE: French photographer Ludwig Favre continues his series on empty architectural spaces at La Sorbonne. Our curators recommend the work large...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...

Tracey Emin, Billy and Traci in a Pub, 1984 Woodcut in dark blue on Japon paper, signed and inscribed 'lots love Traci xx' in pencil on the backboard, printed by the artist Test prin...

Poster produced for David Hockney’s 1981 exhibition at The Ashmolean Museum, Oxford, which displayed the sets and costumes he designed for the Glyndebourne Festival Opera’s 1975 prod...

This is a classic New-Deal image: claustrophobic sweatshop with a row of hunched tailors. The windows and lamps offer light at least. But there is a major difference between this and...

Large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles, and hand painting in grey. Hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, emotional, expressionist, and abstract. Paper: 29.5 x 38.75 in. / 74.7 x 98.2 cm. Soft-ground etching with hand coloring in black gouache on grey BFK Rives mould made paper. Signed by the artist, dated 79, and numbered 59/100 lower center in red crayon. Printed from the same plate as 'Thinking Aloud in the Museum of Modern Art', this print was previously titled "Not Quite Alone in the Museum of Modern Art," suggesting an erotic dalliance in the museum. This print depicts an abstracted scene, perhaps a window and a door, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Beside bold black strokes, his fingerprints form areas of texture. Always seeking greater richness in his prints, Hodgkin layered ink and hand coloring in this print, rendering each print in the edition unique. Howard Hodgkin was introduced to the etching technique used in 'All Alone in the Museum of Modern Art' at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

ABOUT THIS PIECE: Ludwig continues his exploration of his favorite city, Paris with a new series featuring stunning Parisian pools. These public and private spaces display the beauti...

ABOUT THIS ARTIST: Ana Popescu is a French visual artist born in Romania. Her work has a modern charm, celebrating interior and exterior spaces with color ...

ABOUT THIS ARTIST: Ana Popescu is a French visual artist born in Romania. Her work has a modern charm, celebrating interior and exterior spaces with color ...

James Penney was widely known for his New Yorker covers as well as his paintings and prints. Penney was from Saint Joseph, Missouri. He trained in NY...

Don Freeman is best known for his paintings and works on paper of New York City's theatre industry: the signage, the stages and sets, the actors, the costumers and ushers, anything a...

Seated Figure by Geno (sometimes Genoi) Pettit, made in 1945, is a wonderfully 'moderne' image. The woman is wearing a roman-inspired blouse or dress and is shown against a yellow/green, chartreuse background. There is the feeling she is about to lead an ancient procession at any moment! Pettit and her husband, Guy McCoy...

Bernard Schardt worked on the the WPA in NYC during the Depression. (During this period, off and on, he lived with friend and colleague Jackson Pollock...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Ukiyo-e Style Woodcut Untitled, c. 1900 Woodcut print Sight: 13 1/2 x 28 3/4 in. Framed: 22 1/4 x 37 1/4 in.

XAVIER MASCARO Year: 1998 Medium: 25-color silkscreen with poured resin Size: 38 x 36 inches (97 x 91 cm) Edition: 90 Price: $4900 Suite of 3 Also ava...

SIGHT LINES II : THE GREEN ROOM. This archival digital print was created in 2010. This original print was directly drawn into the computer by Peter Milto...

MASSIMO LISTRI Castello di Friedstein a Gotha, Germany, 1999 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framin...

MASSIMO LISTRI Kunsthistoriches Museum III, Wien, Austria, 2014 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Fra...

"Winch" British Linocut Grosvenor School Machine Age 1930 Woman Artist Print "The Winch" 1930. 7 3/4 x 11 (sight) inches. Linocut in colors on tissue...

After Henri Matisse Plum Blossoms, 1948, 1971 Offet lithograph poster Offset lithograph poster Published in Zurich Switzerland on the occasion of the exhibition "Twenty Important Pai...

Sarah Lucas Winter Song, 2020 Offset lithograph poster Limited Edition of 50 27 3/5 × 19 7/10 inches Unframed and unsigned Published by the Consortium Museum, Dijon France Limited E...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

MASSIMO LISTRI Reggia di Caserta VII, Italy, 1993 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framing options a...

MASSIMO LISTRI Massimo Listri - Rijksmuseum Library, Amsterdam, 1994 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

"What makes his work unique is how he has made interiors look so absolutely vivid, as if they had a secret life of their own that only he knows how to portray. Listri has the extraor...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

Michele Zalopany was born in Detroit, Michigan. She attended the Columbus College of Art and Design from 1973 to 1974 and the Cleveland Institute of Art from 1976 to 1978. She earned her Bachelor of Fine Arts degree from the School of Visual Arts in 1981. Through her labor-intensive mezzotints, Zalopany employs realism to depict fictitious scenes, bearing witness to the disintegration of what was once the fulcrum of the American economy in Detroit. Zalopany’s work is widely represented in many public and private collections in the United States and in Europe including The National Gallery of Art, The Yokohama Museum of Art, The Whitney Museum of American Art, The Walker Art Center, The Museum of Fine Art in Boston, The Cleveland Museum of Art, The Royal College of Art in London, and numerous others. Her work has been exhibited in galleries that include P.P.O.W., John Good...

40 x 48 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

MASSIMO LISTRI Trinity College Library, Dublin, Ireland, 2012 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and ...

MASSIMO LISTRI Palazzo Reale I, Amsterdam, 1991 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framing options ava...

aquatint and embossing on paper. plate 19 3/4 x 13 3/4 in. paper 30 3/4 x 23 in.

"Balcony" 1938 WPA Print Mid 20th Century American Broadway Theatre Modernism. Silk screen on paper, 15” x 20". Numbered 15/20 lower left. Pencil si...

Massimo Listri Torino I (Under Construction), 2005 C print Signed and numbered edition of 5 The photographer is based in Florence, and is fascinated how his architectural subject ma...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

48 x 60 inches - edition of 5 Chromogenic Print – Unframed Signed by the artist - Certificate of Authenticity Free Shipping – Ask us foar custom framing options. As a world-renowned...

MASSIMO LISTRI Gipsoteca di Canova a Possagno, Italy (Portrait of Interiors), 2019 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso ...

MASSIMO LISTRI Reggia di Caserta II, Italy, 1993 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Mounted on aluminum, framed ...

MASSIMO LISTRI Museo Correr I, Venezia, 2016 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framing options availa...

This vibrant abstract orange and green print is part of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), These…Plants) by Howard Hodgkin. The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, green watercolor contrasts beautifully with marigold orange, crimson, and terra cotta red. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring in a yellow watercolor wash and green gouache on Stoneridge mould-made etching paper. Edition 100. Howard Hodgkin was introduced to the etching technique used in Artist and Model (in green and yellow) at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Catalogue reference: Elizabeth Knowles...

MASSIMO LISTRI Massimo Listri - Venaria Reale VIII, Torino, Italy (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbe...

MASSIMO LISTRI Massimo Listri - Hermitage Museum VII, St. Petersburg (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromoge...

Robert Rauschenberg Three of the Cloister Series (Hand signed and inscribed to CPA Ruben Gorewitz, Andy Warhol's business partner), 1981 Offset lithograph poster (Signed by Robert Ra...

The title of this poetic, abstract work is written across the top of the sheet. The hand-written cursive below reads: "David Shapiro / Told me he was going to / Carve his poems in stone / "That's one way to make them lost" / I don't have to / Rene Ricard". A poet, art historian and art critic, David Shapiro was friends with Ricard, and a part of the 1980's art scene in New York. Shapiro became famous briefly during the 1968 anti-Vietnam student uprising at Columbia University, when a photograph of him smoking a cigar behind the desk of the Columbia University president was published in Life magazine, and he became the face of the student protest...

MASSIMO LISTRI Massimo Listri - Hermitage Museum IV, St. Petersburg (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromogen...

MASSIMO LISTRI Massimo Listri - Museo Archeologico II, Naples, Italy (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and nu...

MASSIMO LISTRI Massimo Listri - Palazzo Reale, Stockholm, Sweden, 2012 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unrame...

MASSIMO LISTRI Massimo Listri - Museo Archeologico I, Naples, Italy (Portrait of Interiors), 2018 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and num...

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...