New York City - Prints and Multiples

Published by Art Unlimited in Amsterdam in 1990, this work is part of a collaborative celebration of Van Gogh's 100th anniversary, featuring original designs from several renowned ar...

Vasilios Janopoulos, Greek (1953 - ) - Works Miami, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: HC, Image Size: 24.5 x 14.5 inches, Size: 29.5 ...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Alvin Carl Hollingsworth, American (1928 - 2000) - Equis Allegory, Year: circa 1960, Medium: Hand painted Lithograph on paper, signed in the plate lower right, Size: 11 x 15.5 in....

Original exhibition poster for Sterling Ruby "Sunrise Sunset" held at Hauser and Wirth in 2014. Printed on glossy heavy card stock. Paper Size: 26.5 x 21 inches ( 67 x 53 cm ) Image...

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...

Paper Size: 39.5 x 27.25 inches ( 100.33 x 69.215 cm ) Image Size: 36.75 x 24.75 inches ( 93.345 x 62.865 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Sup...

Makes a fantastic gift! Kehinde Wiley The World Stage: Israel (Hand Signed by Kehinde Wiley), 2012 Illustrated hardback monograph with dust jacket. Hand Signed by Kehinde Wiley Boldl...

Richard Lindner, German/American (1901 - 1978) - Profile, Portfolio: After Noon Portfolio, Year: 1969, Medium: Lithograph on Arches, Signed and numbered in pencil, Edition: 250, ...

This reproduction is from Richard Artschwager's 1985 exhibition at Leo Castelli Gallery, showcasing an abstract work on paper. The artwork features a yellow shape that appears to be ...

David “Kawika“ Maes Gallegos b.1954 – was born in Denver, Colorado. He works primarily as a pop artist and does multiple luminous cityscapes. This piece is a Lithograph on Arches, si...

Plate 22 from "Inspirations" by Andre Durenceau. New York: Perleberg, 1928. Original hand-colored pochoir process print.

This first edition advertising poster was designed by Pablo Picasso to commemorate the success of the Movement for Peace conference held in Paris in the Spring of 1960. The poster, t...

Original first edition exhibition poster for Gerard Garouste’s show at Leo Castelli and Sperone Westwater Galleries, New York, held February 5–26, 1983. Printed in Italy, with photog...

Andy Warhol illustrated advertising poster New York, 1979: 1970s Andy Warhol illustrated "Lighthouse Footwear Reptile Shoes," poster (New York, 1979). An elegant & well-sized vintage...

Paper Size: 8.75 x 7.25 inches ( 22.225 x 18.415 cm )_x000B_Image Size: 7.75 x 6.4 inches ( 19.685 x 16.256 cm )_x000B_Framed: Yes_x000B_Condition: A-: Near Mint, very light signs of...

Genichiro Inokuma, Japanese (1902 - 1993) - Faces, Year: 1970, Medium: Collage on board, signed and dated in pencil, Size: 6 x 4 in. (15.24 x 10.1...

Paul Davis's 1983 offset lithograph, "The Bear Dance...Or Wall Street Jubilee II," measuring 24 x 18 inches, offers a satirical commentary on the financial markets. The term "bear" i...

Keith Haring Dance on the Lower East Side: Fold-out invitation designed & illustrated by Haring for a opening night benefit party at The Underground, New York, NY 1983; in conjunctio...

Paper Size: 39.5 x 27 inches ( 100.33 x 68.58 cm ) Image Size: 39.5 x 27 inches ( 100.33 x 68.58 cm ) Framed: No?Condition: A-: Near Mint, very light signs of handling Shipping and H...

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...

“Homage to the Square - Portfolio 1, Folder 23, Image 2 “ from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 orig...

Paper Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Image Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Supplemental Conditi...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithographic reproduction on GardaMatt Art 250 GSM paper with full margins (Artist Authorized) Not signed, edition of 3433 12 1...

Georges Braque, After, French (1882 - 1963) - Fondation Maeght, Year: 1980, Medium: Poster, Size: 34 in. x 15 in. (86.36 cm x 38.1 cm)

Watermelon Man is a vibrant and whimsical original print by renowned artist Rodney Greenblat. Known for his playful and colorful style, Greenblat’s work brings a sense of joy and ima...

Exhibition poster for Moderna Museet, Abretsprocesser Grafik, 1980 Printed by Jernstrom Offset.

Artist: Bill Beckley, American (1946 - ) Title: Three Quarter Moon - Two Evening Stars Year: circa 1980 Medium: Lithograph, signed and numbered in pencil...

Artist: Italo Valenti, Italian (1912 - 1995) Title: Untitled (Verde) Year: 1972 Medium: Screenprint, signed and numbered in pencil Edition: 150 Size: 27 x 29.5 inches

Nayland Blake Made with Pride by a Queen 1989 Silkscreen on canvas 8 x 10 inches; 20 x 25 cm Edition of 50 Initialed, dated, and numbered in ink (lower ...

Louis Icart, French (1888 - 1950) - Les Masques, Year: 1926, Medium: Color Etching, Signed in Pencil, Edition: 308, Size: 18.68 in. x 14.38 in. (47.43 cm x 36.51 cm), Frame Size:...

Artist: Leonor Fini (Argentine / French, 1908-1996) Title: Blind Man's Bluff Year: circa 1970 Medium: Lithograph, signed in pencil Edition: EA 35 Image Size: 10 x 7 inches Frame Size...

This double-page lithograph by Joan Miró is featured on pages 16-17 of Derrière le Miroir No. 186, published by Maeght Editeur in Paris in 1970. The lithograph, which includes a fold...

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...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Two Yellow Irises on Sage I Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 22.5 x ...

Paper Size: 33 x 23.75 inches ( 83.82 x 60.325 cm ) Image Size: 26.5 x 19.75 inches ( 67.31 x 50.165 cm ) Framed: No The original exhibition poster from 1987, issued by a gallery in ...

A serigraph by Leroy Neiman from 2000. A colorful scene of friends enjoying wine in a countryside landscape. Signed and framed in gold wood frame. Artist: LeRoy Neiman, American (1...

Guillermo Silva Santamaria, Colombian (1922 -2007) - Vencedor y Vencido, Year: 1963, Medium: Etching, Aquatint and Intaglio, signed, titled, numbered and dated in pencil, Edition: ...

Limited Edition Serigraph published by Marco Fine Arts Contemporary Atelier and released as part of the large portfolio and book entitled "The American Dream". A serigraph of the first in Indiana's series of American Flag re-inventions. Released in 1963 through Multiples, Inc. as a felt banner...

Area Nightclub 1984: A RARE original 1984 street poster for the seminal & much legendary 1980s New York nightclub Area, uniquely featuring an alien-like Ronald Reagan; a poster that ...

"Tension in Height," a poster by Wassily Kandinsky, showcases the artist's distinctive style and exploration of abstract forms. The original painting was created in 1942, during a pe...

Artist: Pablo Picasso (after) Medium: Lithographic Poster, 1952 Dimensions: 25.5 x 18.25 in, 64.8 x 46.4 cm

Alberto Giacometti, Swiss (1901 - 1966) - Seated Nude From Derriere Le Miroir no. 127, Year: 1961, Medium: Lithograph, Edition: ~2500, Size: 15 x 11 in. (38.1 x 27.94 cm), Publis...

Artist: Kyohei Inukai, American (1913 - 1985) Title: Egg 2 (Purple) Year: circa 1970 Medium: Silkscreen, signed and numbered in pencil Edition: 45 Image Size: 20 x 26 inches Size: 2...

PHILIP PEARLSTEIN Nude in New Mexico, 1984 Lithograph on art paper 31 3/5 × 40 3/4 inches Signed, titled, dated and numbered in graphite pencil from the limited edition of only 65. (48/65) Unframed Philip Pearlstein was born in Pittsburgh, PA, in 1924 and came to New York with Andy Warhol - his first roommate. In 1941, his junior year in high school, he received his first recognition when awarded first and third prizes in Scholastic Magazine's 14th National High School Art Exhibition. Upon graduation from high school in 1942, he enrolled in the Carnegie Institute of Technology but the draft limited his attendance to one year. After discharge from the army in 1946, he returned to Carnegie Tech where he studied with Robert Lepper, Balcomb Green and Samuel Rosenberg...

Arthur-Luiz Piza, Brazilian (1928 - 2017) - Etoiles, Year: 1965, Medium: Etching on Arches, signed and numbered in pencil, Edition: 12/60, Image Size: 17 x 12 inches, Size: 26 x...

Artist: Clayton Pond, American (1941 - ) Title: Column Study from Capital Ideas Portfolio Year: 1974 Medium: Serigraph on Museum Board, signed and numbered in pencil Edition: 150 Ima...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

Paper Size: 39 x 24.5 inches ( 99.06 x 62.23 cm ) Image Size: 39 x 24.5 inches ( 99.06 x 62.23 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

Paper Size: 8.25 x 8.25 inches ( 20.955 x 20.955 cm ) Image Size: 8.25 x 8.25 inches ( 20.955 x 20.955 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or...

Alex Katz in Maine, 2005 Hardback monograph (hand signed and dated by Alex Katz) Boldly signed and dated 6.9.10 by Alex Katz on the first front end page 9 3/4 × 11 1/2 × 3/4 inches T...

This is a screen print of a pink rose on wove paper, 1990, signed in pencil and numbered from the edition of 72 (total edition includes nine artist's proofs). Published by Lincoln Ce...

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...

This original postcard served as an exhibition invite for Robert Longo's solo show, "Outward and Visible Signs of an Inward and Invisible Grace," held at Metro Pictures in New York f...

1980s Keith Haring Record Art (set of 4 works): Four individual 12 inch albums - all illustrated by Haring during his lifetime - making for standout vintage 1980s Keith Haring wall ...

Max Epstein, Canadian (1932 - 2002) - Winter's Morning, Year: 1978, Medium: Screenprint, signed and numbered in pencil, Edition: AP 42/50, Size: 17.75 x 25.75 in. (45.09 x 65.4...

Keith Haring Crack Down! 1986: Vintage original Keith Haring anti-drug poster, 1986. Off-set lithograph on heavy weight paper. Dimensions: 17 x 22 inches. Minor signs of handling; ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Bacchanale". The original painting was completed circa 1922. In the 1970's after Picasso's d...

Giovanni Pintori Olivetti (Fully Automatic Printing Calculator), 1951 Offset lithograph poster Framed: held in original vintage metal frame Evocati...

Still Life with Sugars Ralph Goings American (1928–2016) Date: 1981 Screenprint, signed and numbered in pencil Edition of AP 34/40 Image Size: 19 x 20 inches Size: 22 in. x 23 in. ...