USA - Abstract Prints

Haarlem by Johnny Friedlaender, German (1912–1992) Date: circa 1965 Lithograph, Signed and Numbered in Pencil Edition of 269/350 Size: 35 in. x 24.5 in. (88.9 cm x 62.23 cm)

Artist: Allan D'Arcangelo, American (1930 - 1998) Title: Sky Bars Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 150, T/P Image: 26.5 x 24 inches Paper Size: ...

Jasper Johns Target with Four Faces, 1968 Offset lithograph poster for Merce Cunningham Dance Company Limited Edition of 300 (unsigned and unnumbered) 35 × 23 inches Printed by by U...

Friedel Dzubas Untitled, 1982 Monotype on handmade paper 33 1/4 x 33 inches A noted figure in the New York School, Friedel Dzubas was associated with the Color Field painting movem...

Akio Wakasa Miyakawa - Primitive Lineage, Medium: Etching and Aquatint on Arches, signed, titled and numbered in pencil, Edition: 4/20, Image Size: 11.75 x 19.5 inches, Size: 15 x ...

Artist: Robert Morris Title: Roller Disco: Cenotaph for a Public Figure Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 180 Paper Size: 26 in. x 32 in. (66.04...

Artist: Piero D'Orazio, Italian (1927 - 2005) Title: Untitled 3 Year: 1979 Medium: Silkscreen, signed and numbered in pencil Edition: 90 Size: 13 x 10 in. (33.02 x 25.4 cm)

Artist: Robert Motherwell (American, 1915-1992) Title: "Greenwich Arts Council" *Issued unsigned, though signed by Motherwell in the plate (printed signature) center right Year: 1976 Medium: Original Lithograph, Exhibition Poster on Strathmore paper Limited edition: 700. (There was also a signed and numbered edition of 42) Printer: Tyler Graphics, Ltd., Mount Kisco, NY Publisher: Greenwich Arts Council, Greenwich, CT Reference: "The Prints of Robert Motherwell - A Catalogue Raisonné 1943-1984" - Belknap Appendix: No. 28, page 282; "Robert Motherwell - The Complete Prints 1940-1991" - Engberg No. 202 Sheet size: 37.25" x 23" Condition: Never framed, has been professionally stored away for decades. Some minor edge wear. In excellent condition Rare Notes: Printed in three colors: black, green, and cream. Poster produced for a special exhibition "Sculpture 76" at The Greenwich Arts Council, Greenwich, CT from June - October, 1976. The image featured on this poster is Motherwell's 1972 acrylic painting on paper "Greenwich Sculpture". Artist's copyright lower left and printer's imprint lower right. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Robert Motherwell was born January 24, 1915, in Aberdeen, Washington. He was awarded a fellowship to the Otis Art Institute in Los Angeles at age 11, and in 1932 studied painting briefly at the California School of Fine Arts in San Francisco. Motherwell received a B.A. from Stanford University in 1937 and enrolled for graduate work later that year in the Department of Philosophy at Harvard University, Cambridge, Massachusetts. He traveled to Europe in 1938 for a year of study abroad. His first solo show was presented at the Raymond Duncan...

This serigraph was created by German Op artist Herbert Aach. Aach's prints play with geometry and form, and trick the viewer's eyes by juxtaposing bright neon colors. This print is s...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 87–89, originates from the 1956 edition published by Maeght E...

Artist: Terry Winters, American (1949 - ) Title: untitled 6 from Album Year: 1988 Medium: Etching with Aquatint, signed and numbered in pencil Edition: HC 2/2 Image: 20 x 16 inches S...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 37 Year: 1968 Medium: Silkscreen, signed in pencil Edition: AP Image: 27.75 x 20 inches Size: 28.5 x 22.5 in. (72.39 x 57.15 cm)

Justin Pollmann "Day by Daybed" 2023 Inkjet Transfer Collage, Monotype 25"x27.5" inches The inkjet transfer images are made by collaging transfers of inkjet prints to the paper’s ...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Unknown Artist - Abstracted Screen, Medium: Lithograph, Image Size: 12 x 12.5 inches, Size: 15 x 16 in. (38.1 x 40.64 cm), Description: Signed "Kathy Salleut" in pencil lower right

Hewitt, Charlie. UNTITLED COMPOSITION. Woodcut, not dated, but circa 1995. Edition of 100. Signed and numbered in pencil. 16 x 20 inches. In excellent condition.

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 54 Year: 1969 Medium: Silkscreen, signed in pencil Edition: AP Size: 25 x 19 in. (63.5 x 48.26 cm)

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Red Earth Year: circa 1979 Medium: Etching with Aquatint, Signed and numbered in pencil Edition: ...

In this contemporary encaustic monotype, layers of pigmented beeswax on a scroll of lightweight mulberry paper create an undulating composition suggesting layers of the earth's crust...

Deep tonal lithograph of a ship influenced by Chinese Merchant ships. It is signed, titled and dated by the artist. It is framed in a gold frame with a white matte. Paul Sprohge is a...

Andy Warhol Gagosian Gallery 1992: Rare highly decorative & classic vintage Andy Warhol exhibition poster published on the occasion of: ...

This exquisite woodcut by Hans Jean Arp (1886–1966), titled Jaune (Yellow), from the folio Derriere le miroir, No. 33, originates from the 1950 edition published by Maeght Editeur, P...

Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...

Keith Sonnier, American (1941-2020) lithograph From Neon series circa 1980-1981 Bears the Waterstreet Press watermarks and Arches paper blind stamp to lower right corner. Pub. Edizioni Lucio Amelio Hand signed with initials in pencil Dimensions: 30 x 21 3/4 inches Post minimalist Abstract by Keith Sonnier Keith Sonnier (1941 – 2020) was a post minimalist sculptor, performance artist, video and light artist. Sonnier was one of the first artists to use light in sculpture in the 1960s. With his use of neon in combination with ephemeral materials he achieved international recognition. Sonnier was part of the Process Art movement. James Keith Sonnier was born July 31, 1941, in Mamou, Louisiana. His family was Cajun and Roman Catholic. His father was a hardware store owner, Joseph Sonnier, and his mother was a florist and singer, Mae Ledoux. He graduated in 1963 from Southwestern Louisiana Institute (now known as the University of Louisiana at Lafayette). In 1966, he graduated with his MFA degree from Rutgers University, where he studied under Allan Kaprow, Robert Watts, and Robert Morris. After graduation from Rutgers, he moved to New York City with Jackie Winsor and some of his former classmates. Sonnier died in Southampton, NY on July 18, 2020. Sonnier began experimenting with neon in 1968. Neon lights became a signature material used in his sculptural works. The common materials Sonnier employed included neon and fluorescent lights; reflective materials; aluminum and copper; and glass and wires. Of the generation of James Turrell and Dan Flavin, He was also associated with the Light and Space movement, a loosely affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin. It is characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Artists included Ron Cooper...

Artist: Damien Hirst Title: Norcamphor from “40 Woodcut Spots" Year: 2011 Medium: Woodcut on 410gsm Somerset White Paper Edition: 43/55; signed (recto) and numbered (verso) in penci...

Artist: Alexander Calder Title: Derriere le Miroir #173 Portfolio: Derriere le Miroir #173 Medium: Lithograph Year: 1968 Edition: Unnumbered Sheet Size: 15" x 11" Image Size: 15" x 1...

Pinchas Burstein, known as Maryan Lithograph (after the drawing). 1960 Dimensions: 12 3/8 x 9 3/8 inches (315 x 240mm). Gold or bronze ink on black paper Signed in the plate, not b...

BASF Luran mounted on aluminum. Hand signed lower front by Victor Vasarely; Signed, titled, dated and numbered on label to verso. From the edition of 8. Additional images availa...

This exquisite lithograph by Bernard Buffet (1928–1999), titled Saint-Tropez (Saint-Tropez), originates from the 1979 album Bernard Buffet, Lithographe I (Bernard Buffet, Lithographe...

Artist/Designer; Manufacturer: Keith Haring (American, 1958-1990) Marking(s); notes: signed; ed. 280/1000; 1988 Materials: lithograph Dimensions (H, W, D): 11.25"h, 8.5"w; 21.5"h, 17...

Artist: Joan Miro Title: Plate VIII Portfolio: Lithographe I Medium: Lithograph Date: 1972 Edition: Unnumbered Frame Size: 18 1/2" x 26" Sheet Size: 12 1/2" x 20" Image Size: 12 1/2"...

Untitled From: Gates to Times Square (20 screenprints, two with additional lithography) Silkscreen, c. 1978 Signed in pencil (see photo) Edition 100 (90/100) (see photo) Publisher: P...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Rose Monochrome Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200 Image Size: 27 x 27 inche...

Artist: Yaakov Agam (1928) Title: Double Metamorphosis V Year: 1979 Medium: Silkscreen on Arches paper Edition: 69/180, plus proofs Size: 36 x 50 inches Condition: Good Inscription: ...

Rising to prominence in the late 1970s and early 1980s, American artist Julian Schnabel is known for a multidisciplinary practice that spans painting, sculpture and film. During his ...

Signed Lower Right Edition # 9/18 Josef Zenk (1904 - 2000) Josef Zenk was born in New York City in 1904. After graduating from high school, he studied for three years at the Natio...

Artist: Rita Simon, American (1938 - ) Title: Spacescape Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 300, AP 30 Image Size: 32 x 24 inches Size: 36...

Artist: Frank Roth, American (1936 - ) Title: Untitled - Four Green Shapes in Continuous Space Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 125, AP 30 Image...

Debris Etching, engraving and color aquatint, 1947 Signed, dated, titled and number Edition: 25 (1/25), never fully realized Created in the artist's first year studying at the Univer...

Artist: Hiroshi Murata Title: Circles Year: circa 1970's Medium: Serigraph, signed and numbered in pencil Paper Size: 19.5 x 27 inches Framed Size: 24.5 x 32

Vincent Longo, American (1923 - 2017) - Yellow, Blue and Green Composition, Year: 1979, Medium: Screenprint, signed, dated and numbered in pencil, Edition: II 24/25, Image Size: 15.7...

This striking group of five abstract lithographs, signed and individually titled by renowned artist Dale Chisman, was created in 1987. The lithographs feature a captivating mix of re...

Ushio Shinohara (born 1932, Tokyo), nicknamed “Gyu-chan”, is a Japanese Neo-Dadaist artist. His bright, large work has been exhibited internationally at institutions including the Hara Museum of Contemporary Art, Centre Georges Pompidou, the Guggenheim Museum SoHo, National Museum of Modern Art, Tokyo, Leo Castelli Gallery, New York, Museum of Contemporary Art, Los Angeles and The Metropolitan Museum of Art, Seoul and others. Shinohara and his wife, Noriko, are the subjects of a documentary film by Zachary Heinzerling called Cutie and the Boxer (2013). Shinohara's parents instilled in him a love for painters such as Paul Cézanne, Vincent Van Gogh and Paul Gauguin. His father was a tanka poet who was taught by Wakayama Bokusui. Shinohara’s mother was a painter who went to the Woman’s Art University (Joshibijutsu Daigaku) in Tokyo. In 1952 Shinohara entered the Tokyo Art University (later renamed to Tokyo University of the Arts), majoring in oil painting, however he left before graduation in 1957. In 1960 Shinohara participated in a group called "Neo-Dada Organizers". (Masunobu Yoshimura, Genpei Akasegawa, Shusaku Arakawa, Ushio Shinohara, Sho Kazakura, Tomio Miki, Tetsumi Kudo...

John Cage 9 Concert Tickets designed by John Cage and Earle Brown, August 1953 Letterpress print without ink 11 x 8 1/2 inches Provenance Estate of Carolyn Brown, New York 2025. B...

Tracey Emin Tate Gallery poster, 2004 Offset lithograph 27 1/2 × 19 1/2 inches unframed This offset lithograph poster was published by the Tate Gal...

"Cocoon (1990)" by Suzanne Anker Suzanne Anker (born August 6, 1946) is an American visual artist and theorist. Considered a pioneer in Bio Art. She has been working at the relationship of art and the biological sciences for more than twenty five years. Her practice investigates the ways in which nature is being altered in the 21st century. Concerned with genetics, climate change, species extinction and toxic degradation, she calls attention to the beauty of life and the "necessity for enlightened thinking about nature’s 'tangled bank'.” Anker frequently works with "pre-defined and found materials"botanical specimens, medical museum artifacts, laboratory apparatus, microscopic images and geological specimens. Suzanne Anker was born in Brooklyn, New York on August 6, 1946. She earned a B.A. in Art from Brooklyn College of the City of New York and an M.F.A. from the University of Colorado in Boulder (1976). She also completed independent Studies with Ad Reinhardt (1966-1967) and studied at the Brooklyn Museum Art School (1968). She lives with the artist Frank Gillette in Manhattan and East Hampton, NY. During the mid 70s to the mid 80s, Anker worked almost exclusively on sculptural handmade paper reliefs. She started papermaking in 1974 on the basis of reading Dard Hunter's and Claire Romano's books. In 1975 she worked with Garner Tullis at the Institute of Experimental Printmaking in Santa Cruz, California. The paper reliefs produced at his institute were exhibited at the Martha Jackson Gallery in New York City in 1976.[ The same year, she participated in the North American Hand Papermaking exhibition organized by Richard Minsky at the Center for Book Arts in New York City. From a background as a printmaker, Anker initially worked with cast paper, made in latex molds. Subsequently, she incorporated limestone and fossils in her experiment with combinations of paper and stone. For her 1979 solo exhibition at the Walker Art Center, Anker installed large limestone planks that extended from the interior to the exterior of the gallery. The same year, she presented an installation of limestone and its residual chalk dust at P.S. 1’s "A Great Big Drawing Show" curated by Alanna Heiss with artists Vito Acconci, Alice Aycock, Frank Gillette, Sol LeWitt, Robert Morris, Bruce Nauman, Dennis Oppenheim, Richard Serra, and others. Suzanne Anker is considered "one of the pioneers in the broader field of art, science, and technology", particularly in the burgeoning field of Bio Art. In 1994, Suzanne Anker curated Gene Culture: Molecular Metaphor in Visual Art – one of the first art exhibitions on the subject of art and genetics – at Fordham University’s Lincoln Center Campus in New York. The exhibition investigated "the ways in which genetic imaging operates as aesthetic signs". From 2004 to 2006, Suzanne Anker hosted twenty episodes of the Bio-Blurb Show, a 30-minute-long internet radio program originally broadcast on WPS1 Art Radio, in collaboration with MoMA. The show focused on the intersection of art and the biological sciences, and the ethical and aesthetic dimensions therein. It is currently archived on Alanna Heiss’ Clocktower Productions. In 2006, Anker co-curated the exhibition Neuroculture: Visual Art and the Brain, at the Westport Arts Center with Giovanni Frazzetto. The exhibition presented an investigation of aspects of the human brain, and its attendant representations. Suzanne Anker is the Chair of the School of Visual Arts (SVA)'s BFA Fine Arts Department in New York City (2005-present). She previously chaired the SVA BFA Art History Department (2000-2005). In 2011, Anker founded the SVA Bio Art Lab, the first Bio Art laboratory in a Fine Arts Department in the United States. The SVA Bio Art Lab is located in Chelsea, New York City and has been conceived as a place where "scientific tools and techniques become methodologies in art practice". Anker has participated in lectures and symposia in prominent institutions around the world, including Harvard University, Boston; University of Cambridge, Cambridge, UK; Yale University, New Haven; Art-Sci UCLA, Los Angeles; Maryland Institute College of Art (MICA), Baltimore; Rensselaer Polytechnic Institute, New York; Museum of Arts and Design, New York; Nanyang Technological University, Singapore; London School of Economics, London; European Molecular Biology Laboratory- EMBL, Monterotondo, Italy; Max Planck Institute of Molecular Cell Biology and Genetics, Dresden; Leiden University, NL; Hamburger Bahnhof, Berlin; Dundee Contemporary Arts, Dundee; Courtauld Institute of Art, London; Banff Art Center, Alberta; The National Academies of Sciences, Engineering, and Medicine, Washington, D.C.; Berlin-Brandenburg Academy of Sciences and Humanities, Berlin;[ University of Amsterdam, NL; New York Academy of Sciences, Institute for the Humanities, New York University; DLD, Munich. Selected artworks Gene Pool Anker’s interests in the natural world extended her investigation into the microscopic domain of chromosomes and genes. Appropriating scientific images, she created Gene Pool in 1991, a body of work that includes suspended pigment on large vellum sheets and expansive sculptural arrays employing metallic fibers of stainless steel, copper, aluminum and bronze. Other works that reflect scientific representations of chromosomes include Chromosome Chart of Suzanne Anker –a presentation of her own DNA sequence as a self-portrait– and Cellular Script, in which she displays chromosome patterns as a kind of calligraphy. Biota (2011) is a sculptural installation by Suzanne Anker composed of porcelain sculptures and silver-leaf figurines. The porcelain objects are fabricated by immersing natural sea sponges into a mixture of kaolin, feldspar, and quartz. "The organic material of the sponge burns away in the process, leaving behind only the perfect replica of nature". Exhibitions Selected one-person exhibitions "The Biosphere Blues Mending an Unhinged Earth", O'NewWall, Seoul, Korea (2017). “Culturing Life”, Sam Francis Gallery...

Yaacov Agam is an Israeli artist best known for his pioneering of Kinetic Art. Employing light and sound to provide a unique sensorial experience for the viewer, Agam melded formalis...

This exquisite lithograph by Marc Chagall (1887–1985), titled Les Amants dans l’arbre (The Lovers in the Tree), from Contes de Boccace, peintures du manuscrit des ducs de Bourgogne, ...

Artist: Jose Maria Yturralde, Spanish (1942 - ) Title: Cube within Cube (Red and Blue) Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 61/125 Size: 19 x 19 in....

"Sailing at Night" is a Limited Edition Lithograph (161/225) by Marcel Mouly. It is pencil-signed by the artist. The print's image measures approximately 27.5 x 22 inches and the ima...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Robert Indiana is one of the central figures of the Pop Art movement, taking his inspiration from commercial signs, claiming: “There are more signs than trees in America. There are m...

Artist: Karel Appel Title: Walking Cat Portfolio: 1978 Cats Medium: Lithograph in colors on Japon paper Date: 1978 Edition: XV/LXV Sheet Size: 24 3/4" x 32 1/4" Signature: Hand signe...

This beautiful modernist aquatint etching was realized by the esteemed Indian artist Kaiko Moti, circa 1975. It offers an abstracted and stylized tree branch (presumably that of a Ch...

Agamograph (4D holographic and lenticular). Hand signed lower right by Yaacov Agam. Hand numbered 97/180 lower left. Artwork size: 19 x 19 inches. Frame size: 22.5 x 22.5 inches....

Tracey Emin Rothko Comfort Blanket, 2010 Blanket, Embroidery, Thread, Linen 7 × 7 inches Edition 14/100 Hand signed and numbered with ink title and inscription on tag "Rothko Comfort Blanket for Private Views and Other State Occasions." Held in original Emin International packaging (unframed) Provenance: Emin International Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery An article in Artnews recounts the story: When Tracey Emin was going to the Royal College of Art in London in the late 1980s, she broke down while viewing a radiant pink-and-yellow Mark Rothko painting...

Muted colors make this abstract special. It is a limited edition titled and signed by artist D.McBride. As always, reasonable prices for framing are available.

This exquisite silkscreen by Stuart Davis (1892–1964), titled Untitled, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadsworth Atheneum...

Meduse Etching and aquatint printed in colors, 1958 Signed, titled, numbered and dated in pencil (see photos) Edition: 50 (25/50) Etching and aquatint printed in colors ...

"Carlos Garcia De La Nuez (Cuba, 1959) 'Juegos', 2006 silkscreen on paper 19.7 x 23.7 in. (50 x 60 cm.) Edition of 99 ID: GAR1649-003-104" ____________________________________________ "Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico. He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...