New York City - Figurative Prints

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

An early serigraph (screen print) by William Gropper. There's a harpist to provide the music and a choir master conducting. The seated members of the group are individually drawn as ...

This portrait of two philosophers in conversation is a rare figurative work from Mark Tobey, one of the founders of the American Mystical school of pa...

Renowned artists and designers April Greiman and Jayme Odgers 1984 Olympic Games Print (Hand Signed by both April Greiman and Jayme Odgers), 1982 Offset Lithograph Poster - art in sports - Signed in graphite pencil on the front. Accompanied by a letter of authenticity from the publisher Also accompanied by Certificate of Guarantee issued by Alpha 137 Gallery 36 x 24 inches Unframed Accompanied by a letter of authenticity from the publisher on Olympic letterhead. This is one of 750 hand signed lithographic posters (though fewer than 200 said to be extant), published in 1982 to celebrate the 1984 Los Angeles Olympics . April Greiman is an American designer widely recognized as one of the first designers to embrace computer technology as a design tool. Greiman is also credited, along with early collaborator, the late artist Jayme Odgers, with helping to import the European New Wave design style to the US during the late 70s and early 80s." The Olympic Committee commissioned 15 nationally known artists, including April Greiman and Jayme Odgers to create unique designs to promote the event. The complete list of artists is: Sam Francis, David Hockney, Richard Diebenkorn, Carlos Almaraz, Robert Rauschenberg, Jennifer Bartlett, Jonathon Borofsky, Roy LIchtenstein, April Gornik, Raymond Saunders, Martin Puryear, John Baldessari, Lynda Benglis, Billy Al Bengston and Garry Winogrand. This was Greiman and Odger's contribution to the portfolio. In 2017, the Olympic Museum in Lausanne Switzerland...

Marc Chagall, Russian (1887 - 1985) - Pierrot avec Parapluie, Year: 1927, Medium: Etching and Aquatint on Richard de Bas, Image Size: 14.25 x 11.5 inches, Size: 22 x 16 in. (55.88 ...

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...

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...

Harry McCormick, American (1942 - ) - Young Boy, Year: circa 1980, Medium: Etching and Aquatint on BFK Rives, signed and numbered in pencil, Edition: AP, Image Size: 4 x 5.25 inc...

James Rosenquist Castelli Gallery poster (hand signed and inscribed by the artist to the art dealer Richard Feigen), 1980 Offset lithograph poster Signed, dated and inscribed by Jame...

Michael Knigin, American (1942 - 2011) - Art Deco 1925, Year: 1980, Medium: Screenprint, signed. numbered, dated, and titled in pencil, Edition: AP, Image Size: 30 x 17 inches, S...

The silkscreen comes from Linda Stein's Profiles series—drawings, collages and paintings of facial profiles that she made in the 1960s and 1970s when she was coming to terms with her...

Chaim Topol in Fiddler on the Roof (Hand signed by Chaim Topol and the original cast members), 1990 Offset lithograph poster (ink signed) Hand signed in ink by Chaim Topol, Marcia Le...

Kenny Scharf Bad Girls, 1989 Lithograph done with 9 colors and 10 plates on Velin Arches Blanc paper Hand signed and numbered PP by Kenny Scharf on the front Unframed: the work was r...

Original poster produced on the occasion of James Rosenquist’s exhibition at the Amos Anderson Gallery, organized by Petersburg Press. This vintage poster reproduces the artist’s 1973 lithograph Hey! Let’s Go for a Ride, based on the 1961 painting of the same title. A glistening green bottle top dominates the foreground, behind which a red-lipped woman...

ABOUT THE PIECE: The Colorsafe paintings are an exploration of the use of color and pattern. They are constructed from 'vintage' catalogs of the late 1960s / early 70s, a particularl...

David Feintstein is a master draughtsman working in the genre of everyday life in New York City. His style is highly original, especially in this work. Here he's used Visitors' Day (...

I Love You by Dody Müller, American Date: 1980 Screenprint, signed and numbered in pencil Edition of 250, AP Image Size: 22 x 22 inches Size: 28 in. x 26 in. (71.12 cm x 66.04 cm)

WILLIAM T. WILEY Deneb, 1996 Multi Color Lithograph on wove paper with one deckled edge 25 × 17 3/4 inches Edition of 265 Signed, dated inscribed "Ed. 265" Published by: Print Club of Cleveland Printed by Shark's Ink, Published by Print Club of Cleveland Unframed Fantastic multi color 1996 lithograph, hand signed and numbered by the remarkable well listed California artist William T. Wiley. Some people include Wiley in the genre of California funk...

Artist: Peter Phillips (1939 - ) Title: Olympische Spiele Muenchen Year: 1972 Medium: Lithograph Poster mounted on linen Edition: 3000 Size:...

Proof sheet with four wood engraved book plates by Rockwell Kent. Possibly for a book on this subject published in 1937. There are pencil numbers under each image that probably indic...

An original lithograph from the 1956 Derriere le Miroir “Miro-Artigas” folio. Printed by Mourlot, Published by Maeght, Paris. Artist: Joan Miro, After, Spanish (1893 - 1983) Title: Zephyr Bird...

"The Gardener" is part of our Enthusiasts collection created by artist Tug Rice. Signed and numbered limited edition of 12 giclée print on Hahnemuhlë etching paper. Unframed. We are...

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...

Martin Barooshian, American (1929 - 2022) - Dancing Figures, Year: circa 1979, Medium: Etching and Aquatint on Arches, initialed in the plate and signed in pencil, Image Size: 2...

The poster reproduces David Hockney's 1972 drawing Celia in a Black Dress. Viewed through elegantly drooping tulip stems, Celia Birtwell stares dreamily ahead. With one hand paused i...

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...

ABOUT THIS PIECE: Bright Medley is from Kimberly's "personal moments of happiness" series. LA based photographer Kimberly Genevieve is known for her use of color and interesting crop...

Artist: Ron Kleemann, American (1937 - ) Title: Tom Sneva Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 195 Image Size: 17.25 x 24 inches Paper Size: 23.5 x...

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...

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...

Steven Kramer, American (1953 - ) - How to Keep Time to Music/ Totally Nude, Year: 1984, Medium: Lithograph and Screenprint Collage, signed, dated and numbered in pencil, Edition: ...

Artist: Armando Morales, Nicaraguan (1927 - 2011) Title: Figuras Year: 1970 Medium: Lithograph on Arches Paper, signed in pencil Edition: 100 Size: 30 x 22 inches (76.2 x 55.88 cm)

Robert Indiana 4, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fr...

Tracey Emin The Stain, 2007 Mini booklet; stitched binding; digitally printed, accompanied by pencil signed envelope 4 1/2 × 3 3/5 inches Edition of 100 (unnumbered) pencil signed by...

This is an exhibition poster titled "Family Group" by renowned artist Henry Moore, published in 1992 by Shorewood Press in Connecticut. It features Moore's iconic depiction of a fami...

Dancers Georges Rouault, French (1871–1958) Date: 1936 Woodcut, initialed in the stone Size: 3 x 2 in. (7.62 x 5.08 cm) Frame Size: 9.5 x 8.25 inches

Marc Chagall, Russian (1887 - 1985) - Self Portrait, Medium: Etching on Papier A La Main, Image Size: 9.5 x 7.25 inches, Size: 19.25 x 13 in. (48.9 x 33.02 cm), Description: From t...

Lawrence Beall Smith draws four men in a park, each with his back to a giant, strong tree. The year is 1938 and the country is coming out of the Depression but World War II is alread...

Artist: Will Barnet, American (1911 - 2012) Title: The Cat Year: 1997 Medium: Screenprint on Arches, signed in pencil Edition: AP Image Size: 16 x 7 inches Siz...

Summer Still Life I by Rainer Gross, German (1951) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 200, AP 30 Size: 35 in. x 24 in. (88.9 cm x 60.96 cm)

Artist: Mel Ramos, American (1935 - ) Title: Camilla Year: 1989 Medium: Screenprint, signed and numbered in pencil Edition: 161 Image Size: 37 x 32 inches Paper Size: 42 in. x 36 i...

Ira Moskowitz, Polish/American (1912 - 2001) - King Solomon, Portfolio: Song of Songs, Year: 1972, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Size: 30 x 21 in...

A bright cubist screenprint of a woman seated with a cello. She wears a long red skirt and blue blouse and is posed in front of a background composed of intersecting geometric shapes. This piece is signed and numbered in pencil by the artist and is floating in an ornate burnished gold frame. Woman with Cello...

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 ...

Artist: Kevin Red Star, American (1942 - ) Title: Crow Husband and Wife Year: Circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 150, AP Size: 31 in. x 22 in. (78.7...

John Moore (b.1941) Place Setting, 1979 Lithograph on wove paper Hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front 17 × 22 inches Unframed This elegant still life lithograph is hand signed, dated, titled and numbered 29/100 by John Moore on the bottom front. About John Moore: John Moore is an acclaimed contemporary realist painter...

This lithograph was printed at the Atelier Mourlot in Paris in 1959 and is a part of the "La Ville" portfolio. It is annotated "Epreuve de l'atelier Mourlot /...

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...

Georges Braque, After, French (1882 - 1963) - Eurybia and Eros, Year: 1932 (later printing), Medium: Etching on Wove Paper, Image Size: 14 x 11 inches, Size: 19 x 16 in. (48.26 ...

Richard Haas The Rookery Courtyard, Chicago, 1974 Etching on etching rag paper Signed, titled and numbered 11/50 in graphite pencil on the front Frame included Etching on etching ra...

Lawrence Beall Smith Windy Hill, 1948 Signed in pencil lower right margin Lithograph on wove paper Image 10 3/8 x 13 1/16 inches Sheet 11 15/16 x 16 inches From the edition of 250 ...

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...

Harvest by Erté, Russian (1892–1990) Date: 1987 Embossed Screenprint with Foil, signed and numbered in pencil Edition of 300, HC 8/18 Size: 16 x 29 in. (40.64 x 73.66 cm) Frame Size:...

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...

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...

Artist: Paul Wunderlich, German (1927 - 2010) Title: Marat Year: 1989 Medium: Lithograph, signed and numbered in pencil Edition: 50 Image Size: 53 x 39 in. (134.62 x 99.06 cm) Frame ...

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...

Li Zhong-Liang, Chinese (1944 - ) - Horse Riding, Year: 1990, Medium: Acrylic, Watercolor and Ink on Laid Paper, signed and dated in ink, Size: 39.75 x 40.5 in. (100.97 x 102.87 cm)

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...

Archival Inkjet print on RR Polar Matte Archival paper. Stamped and then initialed in pencil, edition of 150 on verso.