David Zwirner Books Presents The Paris Review Prints | David Zwirner

David Zwirner Books Presents The Paris Review Prints

When The Paris Review was founded in 1953 by George Plimpton, Peter Matthiessen, and Doc Humes, it immediately made waves both for its contents and for its design. It was the first literary magazine to give voice to Jack Kerouac and Philip Roth, among many other now famed authors, and, under the directive of children’s book illustrator and art editor William Pène du Bois, legendary artists like Pablo Picasso and Jean Cocteau contributed doodles, self-portraits, and otherwise uninhibited, free-form works that suited the Review's adventurous flair. In the late 1960s, Paris editor Maxine Groffsky brought its covers to life with highly saturated color palettes and abstract graphics, and curator and art editor Richard Marshall—also known for his work at the Whitney—selected paintings and sketches for the publication's covers well into the 1980s.

In 1964, The Paris Review began commissioning prints and posters by major contemporary artists, many of them friends of the magazine. Largely through the efforts of publisher Drue Heinz, who underwrote the series, and of Jane Wilson, who was chosen by Plimpton to direct the program, twenty-three inaugural artists were persuaded to donate signed and limited editions of original work.

Among the initial contributors were Helen Frankenthaler, Ellsworth Kelly, Robert Motherwell, and Andy Warhol. Over the decades, the print series has grown to include the work of more than sixty artists and has garnered consistent critical acclaim. Each print is published in an edition of 60 to 200, most of them signed and numbered by the artist. All have been made especially and exclusively for the publication.

For the latest Viewing Room, David Zwirner Books is pleased to present a collection of works from The Paris Review print series. From the high contrast pigments of Carol Summers to the dark pictorial planes of Louise Nevelson, this Viewing Room includes a broad selection of highly coveted works.

This selection of prints is presented in conjunction with the publication’s annual fund-raising event, The Spring Revel, which celebrates the magazine's writers and provides vital support to carry on the work of The Paris Review.

All proceeds from this Viewing Room's sales benefitted The Paris Review Foundation, a 501(c)(3) organization.

Inquire on works from this Viewing Room.
Archival cover imagery, courtesy The Paris Review. From left: Louise Bourgeois, Donald Sultan, Jack Youngerman, and Donald Sultan
Archival cover imagery, courtesy The Paris Review. From left: Louise Bourgeois, Donald Sultan, Jack Youngerman, and Donald Sultan
A print by Louise Bourgeois, titled Untitled, dated 1994

Louise Bourgeois

Untitled, 1994
Intaglio print

36 x 28 inches (91.4 x 71.1 cm) 

A print by Alex Katz, titled Paris Review, dated 1991

Alex Katz

Paris Review, 1991
Silkscreen print

42 x 30 inches (106.7 x 76.2 cm)

A print by Louise Nevelson, titled Untitled, dated 1965

Louise Nevelson

Untitled, 1965
Silkscreen print

40 x 26 inches (101.6 x 66 cm)

A print by Louise Bourgeois, titled Untitled, dated 1994

Louise Bourgeois

Untitled, 1994
Intaglio print

36 x 28 inches (91.4 x 71.1 cm)

A print by John Wesley, titled Untitled, dated 1965

John Wesley

Untitled, 1965
Silkscreen print

40 x 26 inches (101.6 x 66 cm)

Signed and numbered verso

A print by Helen Frankenthaler, titled The Paris Review, dated 1967

Helen Frankenthaler

The Paris Review, 1967
Lithograph print

38 x 22 3/4 inches (96.5 x 57.8 cm

A print by Larry Rivers, titled Untitled, dated 1991

Larry Rivers

Untitled, 1991
Lithograph print

28 x 28 1/2 inches (71.1 x 72.4 cm)

A print by Theodore Stamos, titled Untitled, dated 1965

Theodoros Stamos

Untitled, 1965
Silkscreen print

40 x 26 inches (101.6 x 66 cm)

A print by Donald Sultan, titled Orange Flowers, dated 1996

Donald Sultan

Orange Flowers, 1996
Silkscreen print

18 x 13 inches (45.7 x 33 cm)

A print by Stephen Hannock, titled Evening Launch for George, dated 2004

Stephen Hannock

Evening Launch for George, 2004
Lithograph print

25 x 19 1/2 inches (63.5 x 49.5 cm)

A print by Francesco Clemente, titled Untitled, dated 1990

Francesco Clemente

Untitled, 1990
Lithograph print

32 x 23 inches (81.3 x 58.4 cm)

Terry Winters

Untitled, 1988
Lithograph print

39 x 26 inches (99.1 x 66 cm)

A print by John "Crash" Matos, titled Untitled, dated 1990

Crash John Matos

Untitled, 1990
Silkscreen print

30 x 22 inches (76.2 x 55.9 cm)

A print by Carol Summers, titled Untitled, dated 1968

Carol Summers

Untitled, 1968
Silkscreen print

38 x 25 inches (96.5 x 63.5 cm)

A print by Sol LeWitt, titled Untitled, dated 1983

Sol LeWitt

Untitled, 1983
Silkscreen print

40 x 30 inches (101.6 x 76.2 cm)

 

 

 

“When I walked into my new office last June and saw a Warhol waiting for me, I thought, This is incredible. I knew The Paris Review was home to great literature, but we have to spread the word out about our remarkable print series.”

 


—Emily Nemens, Editor, The Paris Review

 

 

 

A print by April Gornik, titled Untitled, dated 1996

April Gornik

Untitled, 1996
Lithograph print

27 x 23 inches (68.6 x 58.4 cm)

A print by Andy Warhol, titled Untitled, dated 1965

Andy Warhol

Untitled, 1965
Silkscreen print

37 x 27 inches (94 x 68.6 cm)

“I once heard Jasper Johns say that Rauschenberg was the man who in this century had invented the most since Picasso. What he invented above all was, I think, a pictorial surface that let the world in again. Not the world of the Renaissance man who looked for his weather clues out of the window; but the world of men who turn knobs to hear a taped message … electronically transmitted from some windowless booth. Rauschenberg’s picture plane is for the consciousness immersed in the brain of the city.”


—Leo Steinberg, “Reflections on the State of Criticism,” Artforum, March 1972

 

 

 

A print by Robert Rauschenberg, titled The Paris Review, dated 1965

Robert Rauschenberg

The Paris Review, 1965
Lithograph print

25 x 21 inches (63.5 x 53.3 cm)

A print by Robert Rauschenberg, titled The Paris Review, dated 1965

James Rosenquist

Untitled, 1965
Silkscreen print

32 x 32 inches (81.3 x 81.3 cm)

A print by Betsy Stirratt, titled Untitled, dated 2003

Betsy Stirratt

Untitled, 2003
Silkscreen print

17 x 14 inches (43.2 x 35.6 cm)

A photograph of George Plimpton in his home, ca. 1960s.
A photograph of George Plimpton in his home, ca. 1960s.

Jimmy Ernst

Untitled, 1976
Silkscreen print

33 x 26 inches (83.8 x 66 cm)

A print by Roy Lichtenstein, titled Paris Review, dated 1966

Roy Lichtenstein

Paris Review, 1966
Silkscreen print

40 x 26 inches (101.6 x 66 cm)

A print by Claes Oldenburg, titled Paris Review, dated 1965

Claes Oldenburg

Paris Review, 1965
Silkscreen print

38 x 25 inches (96.5 x 63.5 cm)

A print by Ed Ruscha, titled Anchor in Sand (Paris Review), dated 1991

Ed Ruscha

Anchor in Sand (Paris Review), 1991
Lithograph print

21 x 32 inches (53.3 x 81.3 cm)

A print by Keith Haring, titled Paris Review, dated 1988

Keith Haring

Paris Review, 1988
Archival poster based on sold-out silkscreen
24 x 32 inches (61 x 81.3 cm)
A print by Christo, dated 1982

Christo

Untitled, 1982
Limited-edition poster based on the Lithograph original

36 x 24 inches (91.4 x 61 cm)

Limited-edition poster based on the Lithograph original

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