New York - Abstract Prints

This exquisite lithograph by Alexander Calder (1898–1976), titled Rouge et bleu sur jaune (Red and Blue on Yellow), originates from the historic 1973 folio Derriere le Miroir, No. 20...

Irving Marantz, American (1912 - 1972) - An Aspect of Time, Medium: Lithograph on BFK Rives, signed, titled and numbered in pencil, Edition: 35/50, Image Size: 19.5 x 15 inches, S...

Keith Haring Tony Shafrazi 1982: set of 6 printed works: A set of six, individual, double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi ca...

Robert Natkin monotype (unique) on paper signed in marker on the front Pencil signed, and inscribed with heart doodle: "For Dorothy and Arthur with my Love Natkin" Provenance: collec...

Artist: Joan Miro, Spanish (1893 - 1983) Title: untitled from Cartones Year: 1965 Medium: Lithograph on White Wove Paper Edition Size: 1200 Size: 12.5 in. x 17 in. (31.75 cm x 43.1...

Jasper Johns Untitled 2010 Intaglio on Revere Standard White 19 x 21 1/2 inches 48 x 55 cm Edition of 50 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery...

This is a rare, two-sided mass card from Andy Warhol's memorial mass, which was held on April 1, 1987 at St. Patrick's Cathedral in New York. The front of the card depicts Warhol's 1...

Anish Kapoor, Untitled, from 15 Etchings, ex -Equitable Assurance Gallery collection, 1996 Etching on Zerkall paper This poignant Anish Kapoor etching is pencil signed and numbered 2...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Ovale et rectangle (Oval and Rectangle), originates from the historic 1964 folio Derriere le Miroir, No. 149. Publish...

Josef Albers (after) & Auguste Herbin Paris, 1975: Lithographic exhibition poster published in conjunction with a joint exhibition by Auguste Herbin & Josef Albers at Galerie Melki P...

"Homage to the Square - Po2, F4, I2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original screenprints that...

This exquisite lithograph by Ellsworth Kelly (1923–2015), titled Rouge, bleu, vert, jaune (Red, Blue, Green, Yellow), originates from the historic 1964 folio Derriere le Miroir, No. ...

Created as a one-off limited edition; exact number unknown, but scarce collectible: David Hockney The Rake's Progress, 2019-2020 Fine Bone China finished with platinum gilding in ele...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Signed and dated in pencil on the reverse, with the artist's initials blind stamped lower right Unique Frame i...

This print was created by Albers for the occasion of an exhibition at Goethe House in Manhattan in 1973. It is in an excellent white contemporary frame. Artist: Josef Albers, German...

This exquisite silkscreen by Frank Stella (1936–2024), titled Rabat, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Atheneum Mu...

This exquisite lithograph by Joan Miro (1893–1983), titled Personnages et oiseaux (Figures and Birds), from the folio Derriere le miroir, No. 151–152, originates from the 1965 editio...

The Horizontal 'Spots' by Damien Hirst is a multi-color woodcut in his signature palette formed with series unique colors. This exquisite piece is created in a limited edition of onl...

Frank Stella The New York State Christopher Columbus Quincentenary Commission, 1991 Offset Lithograph Printed in Colors Signed and dated by the artist in ink on the lower right fron...

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...

This exquisite lithograph by Pablo Palazuelo (1915–2007), titled Sans titre (Untitled), originates from the 1963 folio Derriere le Miroir, No. 137, published by Maeght Editeur, Paris...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

This exquisite heliogravure after Pierre Soulages (1919–2022), titled Planche No. 6 (Plate No. 6), from the folio Pierre Soulages, Peintres d'aujourd'hui (Pierre Soulages, Painters o...

Jasper Johns 50th Anniversary of the Whitney Museum of American Art in New York City, 1979 Original lithograph on heavy wove paper 46 × 30 inches Limited Edition of 5000 (unnumbered) Stamped with copyright mark and publisher's blindstamp Published by Stony Johns, Inc. and Gemini G.E.L. Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Unframed This stunning, impressive, large vintage lithograph...

"Homage to the Square - Portfolio 1, Folder 19, Image 1" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origin...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre (Untitled), from the album XXe Siecle, Nouvelle serie No. 3 (double), Juin 1952, originates from the 1952...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Les Oiseaux Voiles (The Veiled Birds), from the folio Derriere le miroir, No. 55-56, originates from the 1953 edition pub...

This exquisite lithograph by Eduardo Chillida (1924–2002), titled Sans titre (Untitled), originates from the historic 1961 folio Derriere le Miroir, No. 124. Published by Maeght Edit...

This exquisite lithograph and pochoir after Georges Braque (1882–1963), titled Fleurs rouges (Red Flowers), from the album Georges Braque, Le Solitaire (The Solitary), originates fro...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Coucher De Soleil Sur La Mediterranee (Sunset Over the Mediterranean), from Verve, Revue Artistique et Litteraire, Vol...

This exquisite lithograph by Joan Miro (1893–1983), titled Lithograph II, from the album Joan Miro Lithographs, Volume III 1964–1969, originates from the 1977 edition published by Maeght Editeur, Paris, and printed by Mourlot Freres, Paris, April 15, 1977. Lithograph II reflects Miros poetic mastery of line, movement, and color, capturing his lifelong pursuit of visual rhythm and lyrical abstraction. Combining spontaneity and control, this composition embodies Miros signature balance of playful geometry and poetic energy—translating instinct and imagination into a harmonious field of motion and light. Executed as a lithograph on velin paper, this work measures 12.5 x 9.625 inches. Unsigned and unnumbered as issued. The edition exemplifies the refined craftsmanship and technical mastery of Mourlot Freres, Paris, one of the foremost printmaking ateliers of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: Lithograph II, from the album Joan Miro Lithographs, Volume III 1964–1969, 1977 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.625 inches (31.8 x 24.4 cm) Inscription: Unsigned and unnumbered as issued Date: 1977 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cramer, Patrick, and Joan Miro. Joan Miro, Catalogue Raisonne Des Livres Illustres. P. Cramer, 1989, illustration 230. Miro, Joan, and Patrick Cramer: Volume VI 1976–1981. Maeght, 1992, illustration 1114. Condition: Well preserved, consistent with age and medium Provenance: From the album Joan Miro Lithographs, Volume III 1964–1969, published by Maeght Editeur, Paris; printed by Mourlot Freres, Paris, April 15, 1977 Notes: Excerpted from the album, Final printing in Paris on 15th April 1977 at Arte Adrien Maeght press. The wide margin lithographs as well as the supplementary lithographs were printed by the Mourlot press. V̅ examples of this English language edition, numbered I-V̅, have been printed. A deluxe edition of CL examples, numbered 1-CL, with II additional original lithographs signed by Joan Miro, and LXXX suites, numbered I-LXXX, containing the VIII original lithographs on velin with wide margins and with each lithograph signed by the artist, have also been printed. About the Publication: Joan Miro Lithographs, Volume III 1964–1969, published in 1977 by Maeght Editeur, Paris, represents the third installment in the definitive four-volume series documenting Miros original lithographic oeuvre. Printed by Mourlot Freres and completed on April 15, 1977, the album chronicles a pivotal decade in Miros artistic evolution—one marked by the synthesis of lyrical abstraction, calligraphic gesture, and radiant color that defined his mature style. The volume includes eight original lithographs, each printed under Miros supervision, demonstrating the technical excellence and chromatic brilliance characteristic of his late work. With essays, documentation, and scholarly commentary, the album stands as both a visual and historical testament to the collaboration between Miro, Maeght Editeur, and Mourlot Freres, whose joint contributions elevated fine art lithography to an unparalleled standard of creativity and craftsmanship. As part of the celebrated Maeght archive of artist albums, Volume III captures the enduring vitality of Miros vision and the timeless spirit of his contribution to modern art. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miros inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miros work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for 23,561,250 GBP (approximately 37 million USD) at Sotheby's, London, on June 19, 2012. Joan Miro Lithograph II...

The Easy Dark poster for Julie Mehretu’s exhibition at the Louisiana Museum of Modern Art is a remarkable piece that embodies the energy and complexity of Mehretu’s work. Printed in ...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Figure Ailee (Winged Figure), from the folio Derriere le miroir, No. 55-56, originates from the 1953 edition published by...

Marlon Mullen (b. 1963, Richmond, CA) has been painting at NIAD Art Center, a progressive studio for artists with developmental disabilities since 1986. Mullen draws his inspiration ...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Zwei Reiter vor Rot (Two Riders Against Red), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Dire...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Ediciones Polígrafa, Redfern Gallery, 1979. Published by Redfern Gallery, London...

This exquisite silkscreen by Ad Reinhardt (1913–1967), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Atheneum...

Sol Lewitt Benefit Concert (Hand signed by Sol Lewitt, Philip Glass and Meredith Monk), 1978 Offset lithograph 19 1/2 × 21 1/2 inches Limited Edition of 75 (unnumbered) Hand signed b...

Düsseldorf (German Cities), 1970 24 x 33.8 in. / 61 x 86 cm Screen print in one color on offset lithograph, black on white card. “for Paul” written in pencil lower middle. Signed and...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Allo! Paris!, 1926. Published by Éditions des ...

This is an original lithograph poster created for Achille Perilli’s 1973 exhibition Works on Paper at Marlborough Galerie in Zürich. A leading figure in postwar Italian abstraction, ...

Yaacov Agam, Israeli (1928 - ) - Double Metamorphosis I, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 9/180, Image Size: 29 x 43 inches, Size: 36 x 5...

Niki de Saint Phalle Last Night I Had a Dream, 1968 Silkscreen on colored paper Signed and numbered 67/75 in graphite pencil on the front Frame included It is elegantly floated and f...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Christo and Jeanne-Claude, Christo, Javacheff Christo Wrapped Trees, Switzerland (Hand Signed by Christo and Jeanne-Claude), 1998 Offset lithograph poster (Hand Signed) Signed Christ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Madame L.D. (Mrs. L.D.), from the album Portraits par Henri Matisse (Portraits by Hen...

Robert Indiana 6, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Frame Included: Elegantly matted and framed in hand...

Artist: Cris Cristofaro, American Title: Untitled - Green and Blue Rectangles Year: 1978 Medium: Silkscreen on Arches Paper, signed and numbered in pencil Edition: 50 Size: 22 x...

This exquisite lithograph by Joan Miro (1893–1983), titled L’Oiseau s’envole sur la zone poussée d’or sur les collines ensoleillées (The Bird Flies Over the Golden Zone on the Sunlit...

Grisha Bruskin Note D, 1991 Color silkscreen on Somerset paper 34 × 27 inches Edition 74/75 Boldly signed and numbered on front in graphite pencil. Published by Marlborough Graphics ...

This exquisite lithograph by Wifredo Lam (1902–1982), titled Personnage (Figure), from the album XXe siecle, Nouvelle serie, XXXVIe Annee, No. 42, originat...

Joan Mitchell Untitled Abstract Expressionist Print for the Carnegie Museum of Art, 1972 Lithograph on wove paper 15 × 22 inches Limited Edition of 1000 (unnumbered) Printer: Maeght...

This screenprint was created by American artist David Roth. Roth's images are proportioned according to a strict mathematical formula - the pictures are composed according to horizon...

Original 1967 Milton Glaser Fold Out Poster for Bob Dylan's Greatest Hits. Offset lithograph printed in colors 33 x 22 in (83.82 x 55.88 cm) Fold lines as issued; very good vinta...

This exquisite lithograph by Henry Moore (1898–1986), titled Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, originates from the 1977 edition published by Societe Internationale d'Art XXe siecle, Paris, and printed by Curwen Prints Ltd, London, 1977. Reclining Figure Interior Setting I reflects Moore’s masterful synthesis of form and space, capturing his lifelong exploration of the reclining human figure as a symbol of harmony between nature, body, and landscape. Executed as a lithograph on velin paper, this work measures 9.75 x 12.5 inches (24.77 x 31.75 cm). Unsigned and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Curwen Prints Ltd, London. Artwork Details: Artist: Henry Moore (1898–1986) Title: Reclining Figure Interior Setting I, from the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977 Medium: Lithograph on velin paper Dimensions: 9.75 x 12.5 inches (24.77 x 31.75 cm) Inscription: Unsigned and unnumbered, as issued Date: 1977 Publisher: Societe Internationale d'Art XXe siecle, Paris Printer: Curwen Prints Ltd, London Catalogue raisonne reference: Moore, Henry, et al. Henry Moore, Catalogue of Graphic Work. Gerald Cramer, 1986, illustration 458 Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Nouvelle serie, XXXIXe Annee, No. 49, Decembre 1977, published by Societe Internationale d'Art XXe siecle, Paris About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris and London, including Mourlot, Arte, and Curwen, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Henry Moore (1898–1986) was a British sculptor, draftsman, and modernist pioneer whose monumental bronzes and organic abstractions revolutionized 20th-century sculpture and made him one of the most influential artists of his time. Renowned for his reclining figures, mother-and-child compositions, and pierced biomorphic forms inspired by nature, Moore transformed traditional carving into a universal language of rhythm, balance, and humanity. Born in Castleford, Yorkshire, he studied at the Leeds School of Art and the Royal College of Art in London, absorbing the influences of classical sculpture, African and Pre-Columbian art, and the radical innovations of the European avant-garde. Inspired by Pablo Picasso’s Cubist fragmentation of form, Joan Miro’s lyrical biomorphism, Wassily Kandinsky’s spiritual abstraction, and Constantin Brancusi’s purity of shape, Moore developed a style rooted in the harmony between mass and void, structure and space. During the interwar years, he became part of an international circle that included Alexander Calder, Alberto Giacometti, Salvador Dali, Marcel Duchamp, and Man Ray—artists who, like Moore, expanded art’s boundaries through abstraction, surrealism, and conceptual experimentation. Like Calder, Moore explored balance and movement; like Giacometti, he sought the spiritual essence of humanity; and like Dali and Duchamp, he challenged perception and redefined modern form. His sculptures, carved in stone or cast in bronze, evoke both ancient and modern sensibilities—forms that appear to breathe with natural vitality while engaging directly with their surrounding landscapes. Moore’s “Shelter Drawings” (1940–41), created during the London Blitz, revealed his deep empathy for the human condition, marking a pivotal moment in his exploration of resilience and vulnerability. By the mid-20th century, Moore’s monumental bronzes had become landmarks around the world, from the Lincoln Center in New York to the UNESCO headquarters in Paris, embodying timeless symbols of endurance, renewal, and unity. His synthesis of organic abstraction and humanism influenced generations of sculptors including Barbara Hepworth, Isamu Noguchi, Eduardo Paolozzi, Antony Gormley, Anish Kapoor, and Rachel Whiteread. Like Kandinsky and Miro, he believed abstraction could transcend culture and time, while like Duchamp and Man Ray, he embraced experimentation as a pathway to new truths. Moore’s works, housed in major collections including the Museum of Modern Art in New York, the Tate in London, the Guggenheim Museum, and the Art Institute of Chicago, continue to define the landscape of modern sculpture for their elegance, power, and emotional depth. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Henry Moore remains a cornerstone of modern art—a sculptor whose vision united nature, form, and spirit into a universal language of beauty and meaning. His highest auction record was achieved by Reclining Figure: Festival (1951), which sold for $33.1 million USD at Christie’s, London, on June 30, 2016, reaffirming Henry Moore’s enduring legacy as one of the most visionary, influential, and collectible sculptors in the history of modern art. Henry Moore Reclining Figure...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful e...

Sam Francis Untitled (from Fresh Air School), 1972 Lithograph on wove paper, for the Carnegie Museum of Art 15 × 22 inches Limited Edition of 6,000 (unsigned edition; there is a sepa...

multi color silscreen on paper, edition of 144 abstracted landscape with trees

A composition resembling a collage, created by American Pop Artist Robert Rauschenberg. Multiple images of noteworthy American figures, such as the Kennedy family, are overlaid above...