Tri-State Area - Abstract Prints

Artist: John Chamberlain Title: Flashback VII Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 175 Paper Size: 28 x 20 inches

Artist: Willem de Kooning (1904-1997) Title: Rainbow: Thelonious Monk, Devil at the Keyboard Year: 1976 Medium: Color lithograph on cream wove Beckett paper Edition: 125, plus proofs...

Victor Vasarely Anthea Galleria D'arte Poster, ca. 1971 Offset lithograph poster Limited edition of 400 (unnumbered) 28 1/2 × 22 1/2 inches Unframed This historic offset lithograph p...

Peter Halley Paintings (Hand Signed), 1995 Offset lithograph poster (hand signed by Peter Halley) 28 1/2 × 18 3/4 inches Hand signed in black marker on the front Unframed Alpha 137 G...

FLOWER COSAS II is a limited edition color lithograph on archival Arches paper by Lamar Briggs (1935-2015) American painter and Texas artist who was born in Lafayette, Louisiana. He ...

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...

Brice Marden Attendants, Bears and Rocks (Hand Signed by Brice Marden), 2002 Offset Lithograph Poster Hand signed boldly in black marker by Brice Marden on the front 17 × 22 inches U...

Robert Indiana Deluxe Limited Edition with Slipcase: Robert Indiana Early Sculpture 1960-1962 (Hand signed and inscribed with heart drawing by Robert Indiana ), 1991 Hardback monogra...

Friedensreich Hundertwasser, Austrian (1928 -2000) - Save the Seas, Year: 1982, Medium: Poster with Foil Embossing, signed in marker on verso, Edition: 5000, Image Size: 27.5 x 2...

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

Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...

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 ...

Andre Masson, French (1896 - 1987) - Dance, Year: 1964, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 23/75, Image Size: 25 x 18 inches, Size: 29.75 x 22...

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...

Hommage by Johnny Friedlaenderm German (1912–1992) Date: circa 1965 Aquatint, signed in pencil Edition of EA Size: 30 in. x 22 in. (76.2 cm x 55.88 cm) Frame Size: 36 x 28.5 inches

Robert Indiana ART, poster for Colby College Museum exhibition (hand signed and inscribed by Robert Indiana), 1973 Offset lithograph poster Hand signed and inscribed by the artist on the front 35 × 23 inches This uniquely signed and inscribed poster was published on the occasion of an exhibition at Colby College Art Museum from September 16 - November 3, 1973, featuring new acquisitions...

Ossip Zadkine Tate Gallery Exhibition poster (hand signed by Ossip Zadkine), 1961 Off-set Lithograph Poster (Hand Signed by Ossip Zadkine) Signed lower right front 30 × 20 inches Unf...

Artist: Judy Pfaff, American (1946 - ) Title: When the Moon is Full Year: 2002 Medium: Photo-etching, signed, titled and numbered in pencil Edition: 26/30 Image Size: 22 x 87 inches ...

This abstract, black and white drawing is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an ed...

James Siena at PACE Gallery, 2019 Offset lithograph exhibition invitation (Hand signed by James Siena) 19 1/2 × 14 1/2 inches Unframed This exquisite fold...

Shigeo Fukuda, Japanese (1932 - 2009) - The Letter O, Portfolio: The Alphabet Portfolio, Year: 1994, Medium: Screenprint, Image Size: 33.5 x 22 inches, Size: 35 x 23 in. (88.9 x...

John Newman (b.1952) Color Double, 1990 Color Lithograph Signed, annotated, and dated in graphite pencil on the front. Edition of 2 (PP II, aside from the regular edition of 32) 27 × 19 3/4 inches Unframed Accompanied by gallery issued Certificate of Guarantee A rare signed Printers Proof, aside from the regular edition of only 32 John Newman received his Masters of Fine Arts degree from the Yale School of Art...

Sam Francis, American (1923 - 1994) - The Museum of Contemporary Art, Year: circa 1985, Medium: Poster, Size: 26.5 x 35 in. (67.31 x 88.9 cm), Printer: The Litho Shop, Inc., Sa...

H. Lawrence Hoffman (American, 1911-1977) Inhale Exhale, 1969 Monoprint Sight: 19 x 15 in. Framed: 27 1/2 x 23 1/4 x 3/4 in. Signed and dated lower right, title inscribed verso H. Lawrence Hoffman (23 October 1911 – 20 January 1977) was a commercial book jacket designer, illustrator,calligrapher and painter who worked in New York City. He illustrated book covers for over 25 publishing companies, including Alfred A Knopf, Pocket Books, Popular Library, Macmillan, Simon & Schuster, The Viking Press, and Random House. Over the course of his career, he illustrated over 600 book jacket covers. Hoffman graduated from the Rhode Island School of Design (RISD) in 1934 and then completed two years of post graduate study in Commercial Art from RISD. He moved to New York City with the $200 he was awarded for winning a competition to design a coin for the 1936 300 year Rhode Island Tercentennial. He began his career as an Art Director at the A.M. Sneider Advertising Company (1938–1941) and at Immerman Art Studios (1941–?). After leaving Immerman, he worked as a free-lance artist and book illustrator for the remainder of his career. He also taught illustration and lettering at The Cooper Union (1960-1967) and was a Professor of Art at C.W. Post University (1967–1976). Hoffman began his career doing drawings for the pulp magazine, "Thrilling Mystery Magazine...

C-print on metallic Fuji Crystal Archive paper (Edition of 5 + 1 AP) Signed and numbered, verso $5000.00 + framing This artwork is offered by ClampArt, located in New York City. A...

Photogram on Polaroid Type 809 (Unique) Signed, titled, and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Brian Buckley’s work has alway...

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)

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Roberto Matta, Chilean (1911 - 2002) - 10PM from L'Arc Obscur des Heures, Year: 1975, Medium: Etching with Aquatint, signed and numbered in pencil, Edition: 89/125, Image Size: 1...

L.W. by Dan Christensen, American (1942–2007) Date: 1978 Screenprint, signed, titled and numbered in pencil Edition of 148/170 Image Size: 28 x 19.75 inches Size: 30 x 22 in. (76.2 x...

Louise Bourgeois Homely Girl, A Life, Volumes I and II (Literary books with 10 original etchings) Hand signed by both artist Louise Bourgeois and Pulitzer winning playwright Arthur M...

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...

Frank Stella Raft of the Medusa, Part IV (Casino Knokke poster, Hand signed by Frank Stella), 1991 Offset lithograph (hand signed in black marker by Frank Stella) Signed in black mar...

Artist: Nicholas Krushenick, American (1929 - 1999) Title: Kiss Kiss Candy Year: 1978 Medium: Silkscreen, signed and numbered in pencil Edition: 200; AP 30...

Sonia Gechtoff, American (1926 - 2018) - Tropics, Year: 1984, Medium: Etching, signed, numbered and dated in white pencil, Edition: 24/50, Size: 39 x 29.25 in. (99.06 x 74.3 cm),...

Decorative Rosenthal ceramic plate produced in collaboration with artists Otto Piene from 1973. A modern design in Piene's abstract modernist style. Porcelain plate with box and sign...

Charles Chamot, Peruvian/American (1951 - ) - Reflect, Year: 1979, Medium: Tapestry, Size: 90 x 67 in. (228.6 x 170.18 cm)

Artist: David Simpson Title: Ringling Year: c. 1969 Medium: Serigraph, signed and numbered in pencil Edition: 80 Size: 30 x 22.5 inches

JEWISH SYMBOLS is an original hand drawn, limited edition lithograph by Marius Sznajderman (Born-Paris, France 1926-2018) printed in colors on white archival printmaking paper, 100% acid-free, using traditional hand lithography printmaking methods. JEWISH SYMBOLS is an expressive modern abstract color still life composition depicting symbols from the Jewish faith including a menorah, roosters, Magen David(star), Aron Kodesh...

HEART II - is a unique lithograph by the pop culture icon - Peter Max featuring with hand colored pastel drawing accents. The image HEART II was printed in 1981 as a limited edition...

Walter Darby Bannard, American (1934 - 2016) - Summer Dots, Year: 1980, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 153/160, Image Size: 22.5 x 34 inches...

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

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

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

James Coignard, French (1925 - 2008) - Report D'Horizontalite, Portfolio: Song of the Broad-Axe, Year: 1982, Medium: Hand Colored Etching with Collage on hand-made Moulin de Larro...

Perle Fine Paintings, 1977 Rare offset lithograph poster 22 × 17 inches Unframed, unsigned, unnumbered Provenance: Estate of Andre Zarre Accompanied by Certificate of Guarantee issue...

Artist: Tony Bechara, Puerto Rican (1942 - ) Title: Sixes Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 30 Image Size: 18 x 26.5 in Size: 22 in. x 30 ...

An Abstract Geometric screenprint by Louise Nevelson. This print is in Nevelson’s typical style, using layers of fragmented geometric shapes to create depth. Nevelson is best known f...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 1/25 lower left in pencil. This print features small sketches of heads resting on forearms. Moore experimented with different angles, appearing to practice for the composition for Lullaby: Sleeping Head, which depicts a shadowy figure supporting the head of a sleeping woman. Lullaby: Sketches is a rare window into Moore’s process of composing an image. Delicate, single-line arms and hair reveal the sculptor’s equal talent as a draftsman. The imagery for Lullaby Sketches was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Lullaby Sketches is one of a group of lithographs...

Artist: Peter Young Title: Two People Looking at a Piece of Paper from New York 10 Year: 1969 Medium: Screenprint and pochoir, signed, numbered, and dated in pencil Edition: 67/100 ...

Antoni Clave, Spanish (1913 - 2005) - Artist Hand, Portfolio: L'Emerveille Marveilleux, Hommage a Joan Miro, Year: 1973, Medium: Carborundum, Embossed aluminum plate, collage and ...

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

Loie Hollowell Cascade, for Coalition for the Homeless, 2020 Fine bone china in red gift box 10 3/4 in diameter Edition of 175 Signed in plate, Artists ...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 87 Year: 1969 Medium: Silkscreen, signed in pencil Edition: AP Size: 25 x 18.75 in. (63.5 x 47.63 cm)

Centre Noeuds (Centre Knots) Portfolio, 1974 Hand-Signed Etching, aquatint in colors/Arches paper, with title page, colophon and poem by Antonin Artaud. In-portfolio 14 x 10 1/2 in E...

Untitled XXI Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

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

Artist: David Diao, Chinese-American (1943-) Title: Barnett Newman: The Paintings (Red) Year: 1992 Medium: Screenprint, signed and numbered in pencil Edition: 25/48 Image: 15 x 39 i...

Brian Wall Untitled Hard Edge Minimalist Etching (Geometric Abstraction) from the 1960s, 1969 Etching on wove paper with deckled edges Hand signed and numbered 22/75 by the artist in...

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...