Abstract Prints on Sale

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Robert Natkin Untitled, ca. 1979 Monotype with heart drawing Hand signed twice; inscribed to Dorothy and Arthur with text and heart Unique Original vintage frame included Measurement...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Etching on wove paper. Inscription: Unsigned and unnumbered, as issued; publisher’s imprint, verso, as issued. Good Condition; never framed or matted. Notes: From the folio, The Prin...

Artist: After Joan Miro (1893-1983) Title: Untitled (Guggenheim Museum) Year: 1966 Medium: Offset lithograph exhibition poster on premium paper Size: 33.75 x 24 inches Condition: Exc...

Rare vintage Keith Haring exhibition poster published on the occasion of: ‘Paradise Garage: Keith Haring and Music, December 14, 2000-February 10, 2001, Deitch Projects, 18 Wooster ...

Artist: After Joan Miro (1893-1983) Title: Murales Peintures Year: 1961 Medium: Lithograph exhibition poster on wove paper Size: 26.5 x 19.25 inches Condition: Excellent Notes: Publi...

Rare unopened Robert Rauschenberg designed Talking Heads Speaking in Tongues: In 1983, legendary pop artist Robert Rauschenberg designed the album cover for Talking Heads’ acclaimed...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Pierre Soulages is considered a major figure of post-war European abstraction, alongside Hans Hartung, Georges Mathieu, Serge Poliakoff, and Jean-Paul Riopelle. He’s particularly ren...

Artist: After Joan Miro (1893-1983) Title: Miro Oeuvres Graphiques Year: 1965 Medium: Lithograph exhibition poster on wove paper Size: 22.25 x 19.25 inches Condition: Excellent Notes...

Donald Sultan Yellow Roses, April from Fruit and Flowers II, 1992 Color Screenprint Signed in Pencil, DS and 34/100 Printed by Watanabe Studio, Brooklyn Published by Parasol Press, L...

Josef Albers Homage to the Square Year: 1977 9 (nine) Silkscreen Prints in brilliant Colors on strong wove paper Unsigned Published by Verlag Aurel Bongers KG, Recklinghausen, German...

Artist: After Joan Miro (1893-1983) Title: Sculptures et Ceramics Year: 1973 Medium: Lithograph exhibition poster on wove paper Size: 32.5 x 22 inches Condition: Excellent Notes: Pub...

Artist: Victor Vasarely (1908-1997) Title: Vertigo Year: 1982 Medium: Silkscreen on Arches paper Edition: 88/325, plus proofs Size: 26.75 x 22.75 inches Condition: Good Inscription: ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from mid-century modern style shapes. It's made by layering paper cutouts and different exposures using ...

Artist: Victor Vasarely (1908-1997) Title: Vega Blue Year: Circa 1982 Medium: Silkscreen on Arches paper Edition: 190/300, plus proofs Size: 30 x 22 inches Condition: Good Inscriptio...

Harold Cohen # 091208.16 2009 Digital print on paper, Edition of 25 53.3 x 91.2 cms (21 x 35 7/8 ins) HC12023

Artist: After Joan Miro (1893-1983) Title: Lucifer Year: 1975 Medium: Lithograph exhibition poster on wove paper Size: 31.5 x 21 inches Condition: Excellent Notes: Published by Galer...

Harold Cohen # 091208.5 2009 Digital print on paper, Edition of 25 53.3 x 91.2 cms (21 x 35 7/8 ins) HC12025

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...

Harold Cohen Untitled # 050106 (Green) 2005 Digital print on paper, Edition 30 147.5 x 119.5 cms (58 1/8 x 47 ins) HC11093

Artist: Brian Rice (1936) Title: Flasher Year: 1967 Edition: 67/175, plus proofs Medium: Lithograph on wove paper Size: 28.5 x 25 inches Condition: Excellent Inscription: Signed and ...

Harold Cohen # 091208.4 2009 Digital print on paper, Edition of 25 53.3 x 91.2 cms (21 x 35 7/8 ins) HC12025

Artist: Dale Chihuly (1941) Title: Basket Series Year: 2015 Medium: Mixed Media—Intaglio Lithography & Acrylic on Waterford paper Edition: 43/175, plus proofs Size: 37 x 25 inches Co...

Artist: After Larry Rivers (1923-2002) Title: Gershwin Brothers, exhibition poster Year: 1966 Medium: Lithograph on wove paper Size: 37 x 26 inches Condition: Excellent Notes: Publis...

Artist: After Joan Miro (1893-1983) Title: Miro Pintura Year: 1978 Medium: Lithograph exhibition poster on wove paper Size: 27.5 x 20 inches Condition: Excellent Notes: Published by ...

Artist: Dale Chihuly (1941) Title: Reeds Year: 2016 Medium: Mixed Media (Silkscreen & Lithograph) on Waterford paper Edition: 86/100, plus proofs Size: 37 x 25 inches Condition: Exce...

Artist: Dale Chihuly (1941) Title: Float Series Year: 2010 Medium: Mixed Media (Intaglio Lithography & Acrylic) on Waterford paper Edition: 8/175, plus proofs Size: 37 x 25 inches Co...

Artist: Dale Chihuly (1941) Title: Float Series Year: 2014 Medium: Mixed Media (Intaglio Lithography & Acrylic) on Waterford paper Edition: 63/175, plus proofs Size: 37 x 25 inches C...

Artist: Dale Chihuly (1941) Title: Venetian Series Year: 2018 Medium: Mixed Media (Lithograph & Screenprint) on Waterford paper Edition: 79/125, plus proofs Size: 37 x 25 inches Cond...

Artist: Peter Alexander (1939) Title: San Blas II Year: 1988 Edition: 75, plus proofs Medium: Lithograph on Guarro paper Size: 22 x 30 inches Condition: Excellent Inscription: Signed...

Artist: Victor Vasarely (1908-1997) Title: BI-RHOMBS Year: 1977 Medium: Silkscreen on Arches paper Edition: 91/250, plus proofs Size: 43.5 x 26 inches Condition: Good Inscription: Si...

Artist: Victor Vasarely (1908-1997) Title: DOR-OR Year: 1982 Medium: Silkscreen on Arches paper Edition: 96/325, plus proofs Size: 42.75 x 23.5 inches Condition: Good Inscription: Si...

Artist: Yaakov Agam (1928) Title: Double Metamorphosis IV Year: 1979 Medium: Silkscreen on Arches paper Edition: 62/180, plus proofs Size: 36 x 50 inches Condition: Good Inscription:...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Offset Lithograph on Parsons Diploma Parchment Paper. Pencil...

"Romeo's Paradise" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right then titled/editioned 130/300 in the lower left with graphite. It...

Claes Oldenburg Parade of Women from the Deluxe hand signed edition of 1 Cent Life Portfolio (Acquired from the Estate of Robert Indiana), 1964 Color lithograph on wove paper Published by E.W. Kornfeld, Germany, Written by Walasse Ting, Edited by Sam Francis Hand-signed by Claes Oldenburg on the lower right front; numbered 85/100 on the colophon page a copy of which is affixed to the back of the frame -see photo Frame included: elegantly floated and framed in hand made museum frame with UV plexiglass, and colophon page with unique edition number affixed to the back. (see photos) This hand signed work is from the Deluxe hand signed edition of only 100 - not to be confused from the unsigned edition of 2000. (None of the works from the edition of 2000 were ever signed by Oldenburg.) Hand signed editions are rarely if ever seen on the marketplace. This original lithograph, splayed across two pages, is from the Deluxe edition of the legendary 1 Cent Life Portfolio, one of the most important and celebrated artistic collaborations of the 1960s. Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Pop Artist Claes Oldenburg, along with the European COBRA artists to create the definitive artistic portfolio, with text by Walasse Ting. The Deluxe edition, which features hand signed prints was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Claes Oldenburg lithograph...

Artist: Victor Vasarely (1908-1997) Title: THEZ Year: 1982 Medium: Silkscreen on Arches paper Edition: 248/250, plus proofs Size: 36.5 x 30 inches Condition: Good Inscription: Signed...

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition. Notes: From Derrière le miroir, N° 151, published by Derrière le miroir, Paris; print...

Artist: Alexander Calder Title: Derriere Le Miroir No. 201, Untitled Single Lithograph from the Derriere le Miroir No. 201 publication. Unsigned and unnumbered from an edition of p...

large scale abstract photograph of muted color monochromatic water surface and horizon SEASCAPE IV by Frank Schott an homage to Mark Rothko 70 x 56 inche...

Tracey Emin Hello Willow, from the Estate of Andy Warhol curator Tim Hunt and his widow, bestselling author Tama Janowitz, 1997 Monotype on paper. Created expressly for Willow, the d...

Artist: Peter Alexander (1939) Title: Sitka Year: 1988 Edition: 75, plus proofs Medium: Lithograph on Guarro paper Size: 22 x 30 inches Condition: Excellent Inscription: Signed and n...

Woman on armchair is an original artwork realized by Antonio Scordia in the 1950s. Colored lithograph. Edition of 200 prints. Hand-signed in pencil on the lower right; numbered on the lower left. Good conditions. Beautiful and colored abstract composition realized by the Italian artist Antonio Scordia; the composition, as the title confirms, recalls the figure of a woman sitting on an armchair. The colors that the artist uses are very brilliant and vivid and there are strong contour lines defining the volumes. The woman is in the center, and is defined by a bright yellow shade that is in contrast with the light blue of the armchair. Antonio Scordia (Santa Fè, Argentina, 1918 - Rome, 1988) was an Italian painter. In 1921, he moved to Rome with his family where he attended the School of the Academy of France...

Artist: Allan D’Arcangelo (1930-1998) Title: Resonance Year: 1978 Edition: 98/150, plus proofs Medium: Silkscreen on Arches paper Size: 30 x 26 inches Condition: Excellent Inscriptio...

Robert Longo Three Strikes, You're Out (Triptych), 1990 Silkscreen and Color Photograph (C-Print) on Aluminum and Lead Plates 9 4/5 × 23 3/5 inches Edition 120/200 Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's and publishers printed name & copyright Unframed Three Strikes You're Out was created in 1990 by Robert Longo exclusively for the mixed-media box-edition Contemporary Archeology, Pandora Part Three. The works were executed by jennifer Cox for Publishing House Bebert in an edition of 200, numbered and signed copies. This work is assembled as triptych and consists of two aluminium plates. Both aluminium plates show a color photograph of a cloud with silkscreened red X, the lead plate only showing the red X Total size is: 9.8 inches by 23.6 inches Individual Metal Plate Sizes: 9.8 x 9.1 in (2) / 9.8 x 5.1 (1) Unframed Boldly signed and numbered in black marker from the edition of 200 on the verso; bears the artist's printed name and copyright mark, along with the publisher - Publishing House Bebert, Rotterdam. Robert Longo Biography: Robert Longo was born in 1953 in Brooklyn and grew up in Long Island, New York. He graduated high school in 1970, weeks after the Ohio National Guard massacred several students at Kent State University who were protesting the U.S. invasion of Cambodia. One of those killed was a former classmate of Longo’s, and his body was shown in a Pulitzer Prize-winning photograph that was seen across the world. The event shocked Longo, triggering his interest in political activism and media imagery. In 1972, Longo received a grant to study restoration and art history in Florence. While touring the museums of Europe, he realized he wanted to make, rather than restore art. In 1973, Longo enrolled at Buffalo State College, where he worked for artists Paul Sharits and Hollis Frampton, who introduced him to structuralist filmmaking. Along with Charles Clough, Longo also co-founded Hallwalls (1974–ongoing), an alternative non-profit art exhibition space where he organized shows and talks with artists such as John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra. At Buffalo State, Longo started a friendship–that still exists to this day–with Cindy Sherman, and in 1977 the two moved to New York together, where Longo began working as a studio assistant to Vito Acconci and Dennis Oppenheim. That year he was included in the exhibition Pictures at Artist’s Space, curated by Douglas Crimp, which showcased work by a group of five young artists who were engaged with the politics of image-making, drawing from advertisements, newspapers, film, and television. The “Pictures Generation,” as they became known, included artists such as Cindy Sherman, Richard Prince, Louise Lawler, David Salle, and drew from semiotics and poststructuralist theory to investigate the way meaning is made and circulated in modern society. Their work often critiqued the anaesthetizing power of consumer capitalism and the indoctrinating effects of mass media. At his first solo show at Metro Pictures in 1981, Longo presented his charcoal and graphite Men in the Cities drawings, which instantly became icons of the “Pictures Generation,” and some of the most recognizable artworks of the 1980s. Longo performed in New York rock clubs with the band Menthol Wars with Richard Prince, throughout the 1980s. During that period, he also designed numerous album covers, including Glenn Branca’s The Ascension (1981) and The Replacements’ Tim (1985). In 1986, he directed his first music video for New Order’s chart-topping song Bizarre Love Triangle, and the following year directed The One I Love, a video for R.E.M.’s first hit single. Longo began working with diverse materials at increasingly ambitious scales. His Combines series, first exhibited in 1983, incorporated materials such as paint, graphite, wood, plaster, cast bronze, and steel in works that were part-painting, part-sculptural reliefs. Using Sergei Eisenstein...

Artist: Georg Karl Pfahler (1926-2002) Title: Version 8 Year: 1969 Edition: 36/100, plus proofs Medium: Silkscreen on wove paper Size: 25.5 x 25.5 inches Condition: Excellent Inscrip...

Joan Miro Hommage à Picasso (Homage to Picasso), 1975 Silkscreen and Photograph on wove paper. Signed Twice: Hand Signed, numbered 1/50 in pencil and dated, and also signed on the plate. (from a very low edition of only 50) 20 × 24 inches Hand-signed by artist, sticker label, Signed, numbered 1/50 and dated on recto (front) from the Album International 2 series. The work is actually signed BOTH by hand and plate. Published by Editions Alpic Geneve Unframed This scarce hand signed and numbered Miro...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...