New York City - More Prints

This lithographic poster illustrates Aristide Bruant who was a famous performer and cabaret owner in Paris at the turn of the 20th century. Lautrec, seizing on Bruant's trademark cos...

This signed and numbered limited edition print was commissioned by Lincoln Center for the Performing Arts in 2012. This impression has never been framed and is in excellent condition. Note: Framed image is for reference purposes only. Artist's Statement: "When I was asked to make a print to benefit Lincoln Center I was both honored and intimidated. I was reminded of my moving to New York City in 1997. My student loans had yet to kick in and I was so broke that I really couldn’t afford much of a night on the town. So instead, as an alternative, I’d meet friends outside of Lincoln Center. There we’d spend a few hours socializing and drinking alongside the lights, on marble steps and by the fountain. I always remember that time. "When I begin to make a work of art I begin with the concept. I play word games and I try to loosen up my associations and assumptions. I make visual and verbal connections. Sometimes these are very personal and frustratingly obscure and sometimes more public. In this case I got stuck on cheese. Why cheese? I remember noticing when I moved to New York that people in New York (at least in the art world) loved cheese. Whatever the event or occasion there it was. And someone was always explaining what he or she liked about this or that particular cheese. I’m a natural mimic and so I paid attention, it comes from moving around a lot. From being the 'new kid.' So I kept mental notes on what was 'good' and more importantly what was 'bad.' You can tell a lot about a person by their opinions on cheese. (The truth is I’m not a huge fan of cheese. I believe I have a lactose intolerance.) So all this is to say in my mind it’s forever linked with connoisseurship and culture. I know these days things have changed. But much of my art concerns itself with outdated notions of 'fancy.' The status symbols of the past I knew when it felt like it mattered. I’m aware that my insecurities are what drove me forward. But that’s one way to learn. You could say the print is of artisanal cheeses—aspirational cheeses. "And then there’s the fun part—adding the text. Which is like my last word on the my artwork; the punch line—the commentary—the poetry. I had a number of ideas but I went with this one—Immature, Artist. Because artists take time. And some of us need reminding." -Matthew Brannon, December 1, 2012 Permanent Collections: Museum of Modern Art, New York, NY, Whitney Museum of American Art, New York, NY, Rennie Collection, Vancouver, Canada, Ringler Collection, Zurich, Switzerland, Rubell Family Collection, Miami, FL, MADRE Museum, Naples, Italy, The Hammer Museum, Los Angeles, CA The Museum of Modern Art, New York, NY, The Alfond Collection of Contemporary Arts, Cornell Fine Arts Museum, Rollins College...

Takashi Murakami, Kanye West, Louis Vuitton; Los Angeles 2007 (Murakami Gala): Rare folding invitation published on the occasion of a 2007 reception honoring Takashi Murakami and fashion icon Marc Jacobs with a special performance by Kanye West; October 28th, 2007; MOCA Los Angeles; hosted by Louis Vuitton. Front side imagery features a reproduction of Murakami’s ‘Jellyfish...

Venus Sergio Gonzales-Tornero, Chilean (1927) Date: 1968 Etching with Aquatint, signed, numbered, dated and titled in pencil Edition of 36/100 Image Size: 24 x 15.75 inches Size: 30 ...

Sean Delonas Untitled (sssuuuccckkkeeerrrsss), c. 21st century Screenprint (?) Sight: 9 1/2 x 12 3/4 in. Framed: 18 7/8 x 21 7/8 x 1 in. Signed and inscribed top Signed lower left in plate Best known as the cartoonist for the New York Post’s Page Six from 1990 to 2013. His cartoons are currently syndicated by CagleCartoons and appear worldwide. An award winning painter and illustrator, his work has appeared in the nation's largest newspapers, magazines, books, television and Broadway. Sean's work is in the permanent collections of the Smithsonian - National Museum of American History, the Library of Congress, Brooklyn Museum of Art, Newseum, the Cartoon Art Museum, New York Historical Society Museum and Library, the Billy Ireland Cartoon Library and Museum, appeared in shows at National Museum of Health and Medicine, the Norman Rockwell Museum, the Concord Museum and the Whitney Museum of American Art. Sean's cartoons were responsible for the New York Mets decision to boycott the press in 1992 (New York Daily News, 03/28/1993). In 2009, his cartoons led to worldwide media attention and the largest protest against the New York Post in it's 200+ yr history with many politicians calling for his arrest. Sean's cartoons linking Freddy Ferrer to Al Sharpton "helped decide the 2001 mayoral race" ( New York magazine, March 21-28, 2005) and were mentioned in the NYC Democrat mayoral candidate's concession speech (November 7, 2001). In 2018, New Mexico’s entire congressional delegation condemned Sean for an immigration cartoon based on Trump's State of the Union speech that appeared in the Albuquerque Journal. (New York Times, 02/08/18) A sold out one man art show at the Limner Gallery led to his largest commission -- creating the altar painting for the Church of St. Agnes in NYC. Many of his friends at the NY Post, were the models for this painting. Together with his son, is the author of Scuttle's Big Wish (ReganBooks/HarperCollins 2006 and Scholastic Books 2007) and, Sean Delonas: The Ones They Didn't Print, (Skyhorse Publishing, 2015). Pulitzer prize winner, Mike McAlary’s character, Scar [played by Glenn Fitzgerald], from CBS’s “New York News” was " drawn from that wacky talent, Sean Delonas." Mike McAlary, NEW YORK DAILY NEWS Wednesday, August 2, 1995. His work is in the private collections of celebrities, politicians, and other public figures, including George H.W. Bush, Secretary James Baker, Andrew Lloyd Weber, Rupert Murdoch, Howard Stern, George Steinbrenner, Spike Lee, Rush Limbaugh, Dan Rather, Wolf Blitzer, Steve Kroft, Mario Cuomo, John Cardinal O’Connor, Jackie Mason , Cindy Adams, Pete Hamill, David Blaine...

Buddy’s Truck Stop John Baeder, American (1938) Date: 1979 Etching on Arches, signed, numbered and dated in pencil Edition of AP Image Size: 15.25 x 23.75 inches Size: 21 x 30 in. (5...

Peace on Earth Sergio Gonzales-Tornero, Chilean (1927) Date: 1970 Etching with Aquatint, signed, numbered and dated in pencil Edition of 15/100 Image Size: 19.75 x 23.75 inches Size:...

Victorian House Facade Harry Devlin, American (1918–2001) Lithograph on Arches, signed and numbered in pencil Edition of 111/260 Image Size: 32 x 22 inches Size: 41.5 x 29.5 in. (105...

Deux Contes: Le Centaure picador. Le Crépuscule d'un faune, 1947 Illustrated book with four drypoints and collotype reproductions of ornamental titles an...

Artist: Robert Indiana, American (1928 - 2018) Title: Die Deutsche Liebe (The German LOVE) from the American Dream Portfolio Year: 1968 (1997) Medium: Silkscreen on Wove Paper Editio...

La Blusa Rosa II, 1995 "Sexual Spring-like Winter" is a large painterly work, created with layers of pink and resin by the art and film world's favorite enfant terrible, Julian Schn...

Rare collectors item: Roy Lichtenstein, Frank Stella, John Chamberlain New Work, Leo Castelli poster, 1967 Offset lithograph poster invitation with original folds, addressee and post...

Sante Fe Opera Robert Indiana, American (1928–2018) Date: 1976 Screenprint, signed, dated and numbered in pencil Edition of 157/250 Size: 31 x 22 in. (78.74 x 55.88 cm) Frame Size: 4...

AGNES MARTIN Praise, 1976 Lithograph on Dalton Natural Bond paper. Gold stamped signature on the front Numbered 593 in pencil on the front, from the limited edition of 1000 Accompani...

Barbara Rosenthal’s Conceptual Photography is a concrete manifestation of complex inner stresses from external realities of all kinds: physical, familial, political, religious, time,...

Contemporary digitally reprinted collage by Florence Alfano McEwin. Watercolor digitally reprinted two plate photo intaglio with collage and chine collé of found, painted, torn, cut...

After Bridget Riley Bridget Riley Works 1959-1978: A Major Retrospective Exhibition, 1978 in collaboration with five international museums Published by the Fine Arts Council UK Offs...

This poster was made to advertise American Pop artist Keith Haring’s exhibition at Tony Shafrazi Gallery in 1984. The composition features a nude figure in the center with their back...

This poster shows American Pop artist Keith Haring sitting in the checkout window of his pop up shop, a space entirely covered ceiling to floor with black line illustrations in Harin...

A blank coloring book designed and printed by American Pop artist Keith Haring. This collection is spiral bound and features several illustrations in the artist’s classic style. Col...

A blank coloring book designed and printed by American Pop artist Keith Haring. This copy is signed and dated in pen by the artist and features several illustrations in the artist’s ...

An exhibition poster for American Pop artist Keith Haring’s show “Future Primeval” that was held at the Queens Museum and the Illinois State University Galleries in 1990 and 1991. Th...

Exhibition Poster: The Kutztown Connection 1984 Keith Haring (After), American (1958–1990) Date: 1984 Poster on wove paper, signed and dated in the plate, signed in pencil Size: 33 x...

This poster was made to advertise American Pop artist Keith Haring’s exhibition at Tony Shafrazi Gallery in 1989. It features a series of colored “bubbles” with several illustrated a...

Paper Size: 31 x 27.5 inches ( 78.74 x 69.85 cm ) Image Size: 31 x 27.5 inches ( 78.74 x 69.85 cm ) Framed: No Condition: A: Mint Shipping and Handling: We ship Worldwide. For Dom...

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...

Richard Anuszkiewicz The Paris Review, 1965 Silkscreen on Beckett 90 lb. Hi-White paper with vellum finish 31 × 26 inches Edition 23/150 Signed lower left; dated and numbered lower r...

Robert Rauschenberg, Overdrive, 2017 Screenprints in color on three individual maple wood skate decks With artist's printed signature 31 x 8 in. (78.7 x 20.3 cm), each, unframed Edit...

Sam Francis Untitled Abstract Expressionist lithograph (Hand Signed from the Carnegie Museum Deluxe Edition), 1972 Catalogue Raisonné: 155, Lembark 15 × 22 inches Hand signed and nu...

Sku: LC1852 Artist: Jim Dine Title: The red boots on a black ground, 1968 Year: 1968 Signed: No Medium: Serigraph Paper Size: 15.25 x 15 inches ( 38.735 x 38.1 cm ) Image Size: 15.2...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

Artist: Seymour Chwast, American (1931 - ) Title: Daytona 500 Year: circa 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250 Image Size:...

Artist: Robert Indiana, American (1928 - 2018) Title: Oranges from the American Dream Portfolio Year: 1969 (1997) Medium: Serigraph Edition Size: 395 Image Size: 16.75 x 14 inches Si...

Sku: CB8608 Artist: Romare Bearden Title: Mecklenburg Morning: Sunrise for China Lamp Year: 1993 Signed: No Medium: Serigraph Paper Size: 35 x 43.75 inches ( 88.9 x 111.125 cm ) Imag...

Frank Stella Attica Defense Fund print, 1974 Offset lithograph print on high quality lithographic paper 29 1/2 × 29 1/2 in 74.9 × 74.9 cm Limited Edition of 3000 Published by Attica...

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...

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” SIGNED by the artist lower right with pen. It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press...

Hand numbered, signed and dated on the recto in the lower right margin. Private collection. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Works, Cantz, Stuttgart, 1997, p.146. Publisher Martin Lawrence...

Alpha 137 Gallery is honored to offer this historic offset lithograph of legendary American artist Peter Halley's 1998 exhibition of small paintings at Galerie Bruno Bischofberger in...

Colorful vintage poster for the 1980 Democratic National Convention, held in Madison Square Garden in New York.Concentric lines of orange and bright green interweave with strokes of pink, yellow, red, turquoise, silver, and gold. Printed with metallic ink that catches light differently from each angle, complementing the poster’s lime green and red text. The top of the poster reads “Let us move forward with a strong and active faith.” It was at this 1980 convention that Jimmy Carter was nominated for reelection. This large poster was printed by Petersburg Press in 1980, and features Frank Stella’s Polar...

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...

Walter Darby Bannard Siciliian Magician, 1980 Silkscreen on wove paper Pencil signed, titled and dated by the artist on the front Unframed Provenance: Bart Gallery, Providence, RI Th...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Visual poems, the works in Vicuña’s PALABRARmas series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña t...

WALASSE TING Green Bombshell, 1964 Color lithograph on Rives BFK paper 28 × 38 inches Signed and numbered 14/20 in graphite pencil on the front Published by: Tamarind Institute, USA ...

Botanical monoprint created by printing actual plants, working with Maria Ancona at 10 Grand Press. Susan Rowland was born in 1940 in Boston, she atte...

This abstract monochrome print portrays large, shiny dark purple bubbles that cascade over a scribbled, dense background. The sense of moveme...

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 early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...

Sam Francis Untitled Abstract Expressionist print for the 1984 Olympics, 1982 Offset Lithograph on Parsons Diploma Parchment paper, hand signed with COA from publisher for Olympic Co...

2015, screenprint, 47 x 34 3/4 inches, edition of 48 Signed and numbered by the artist on the front.

FAILE Secret Seas, 2019 Acrylic, Silkscreen Ink on Lenox 100 Paper. (two sided) Hand Signed, titled, dated and numbered 6/250 (each unique) 25 × 19 inches Hand signed and annotated o...

KEITH SONNIER Untitled, 1995 Letterpress on Sumerset Paper Edition 91/100 Signed and numbered in graphite from the edition of 100, recto Frame included Measurements: Sheet: 6 inches ...

Emilio Sanchez (1921-1999) created this color lithograph entitled “SOL de MEDIODIA” in 1996-98. This unsigned impression came to us directly from the Sanchez estate. Estate stamped on verso. The printed image size is 15 x 32 inches and the paper size 18 x 34.13 inches. Printed in an edition of 50 this impression is inscribed “28/50” - lower left. Stamped on verso "Estate of Emilio Sanchez." “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

NORMAN ROCKWELL (1894-1978) - The Freedom from want - [from the series THE FOUR FREEDOMS.] 1943. 40x28 1/4inches, 101 1/2x71 3/4 cm. World War II poster U.S. Government Printing Of...

Artist: Le Corbusier Medium: Lithographic Poster, 1963 Dimensions: 29.5 x 19.25 in, 74.9 x 48.9 cm Classic Poster Paper - Perfect Condition A+ This rich and beautiful lithographi...

A tranquil, blue, green and tan abstract composition by the iconic British artist Victor Pasmore. Geometric and curvilinear shapes are placed harmoniously with a thin black line and ...

Sam Francis McGovern '72 Poster (Hand signed by Sam Francis), 1972 Photo offset poster (hand signed by Sam Francis) Signed in blue ink on the front by Sam Francis with Sam Francis co...