Hunt Slonem

Anaconda II

1980

Katherine Bernhardt Save the Amazon, 2019 12+ color screenprint on 100% cotton Don Bosco 250 gram paper with deckled edges Signed, titled, dated and numbered 65/100 in pencil on the ...

Ai Weiwei Cats (Red), 2022 Screen print on Saunders Waterford 300gsm paper Hand signed, dated, and numbered 87/150 by Ai Weiwei on the front 13 1/2 × 17 inches Unframed This print was originally published by Kettle's Yard - before it rapidly sold out. It is accompanied by the Certificate of Authenticity issued by the publisher to the original owner. The print was editioned by master printer, Kip Gresham at The Print Studio, Cambridge for Kettle's Yard. It was made using an original drawing ‘cut’ into an acrylic sheet. The image is then reversed when printed. Description from the publisher: "Drawing has been fundamental to Ai Weiwei’s artistic practice from an early age. He also has a longstanding love of cats, and they appear frequently in the artist’s social media posts. Many cats used to roam his studio in Beijing. As part of the Kettle’s Yard exhibition, Ai’s ‘Cats wallpaper’ (2015) will be displayed in the Castle Street window. This artwork was originally exhibited as ‘Studio Cats’ in the exhibition Andy Warhol / Ai Weiwei at the National Gallery of Victoria in Melbourne, reflecting both artists’ mutual love of cats. For Kettle’s Yard, the drawing of Maple and Birch has been inserted among the other cats depicted on the wallpaper." Quote from Ai Weiwei: "I like cats very much because of their independent character, alertness and understanding of human beings; I have feelings approximating to reverence for them. Cats have been regarded as psychic animals since ancient times, no matter in China or ancient Greece. What’s even more interesting is that if a selfie of mine would be seen by 100 people, a cat photo...

Norman Akers Tears, 2018 Monotype on paper by renowned native American artist (Osage Indian) Signed and numbered 1/1 Frame included Monotype (unique) Pencil signed, numbered 1/1 and...

ROY DE FOREST Untitled Trial Proof, 1981 Lithograph on Arches paper with four deckled edges. 22 1/2 × 30 inches Hand signed and annotated Trial Proof, aside from the regular edition...

Max Papart Oval Dove, 1982 Carborundum Etching on embossed paper Hand signed and numbered 26/135 by the artist on the front Vintage frame included Elegant carborundum etching on embo...

Nancy Graves Original Graham Gallery poster (hand signed by Nancy Graves), 1968 Extremely rare vintage offset lithograph poster (hand signed by Nancy Graves) hand signed by Nancy Graves in pencil on the front Frame included: held in museum quality wood frame with UV plexiglass Publisher: Graham Gallery This late 1960s vintage Graham Gallery poster is hand signed by Nancy Graves on the front. It was published on the occasion of her "Camels" exhibition - a groundbreaking show in the artist's young life, as she died at age 54 of breast cancer. (People forget how brave she was, a sharp counterpoint to the style of the macho Minimalists of the era, like her ex husband Richard Serra.) The following year -- in 1969 - Nancy Graves became the first woman ever to have a solo show at the Whitney Museum. We've never seen another of these posters anywhere else in the world - let alone one hand signed by Nancy Graves. Elegantly framed in a museum quality wood frame with UV plexiglass Measurements: Frame: 17 x 17.5 x 1.5 inches Work: 10 x 10.75 inches About Nancy Graves: Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden. Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps...

Clare Halifax V is for Viper Limited Edition 4 colour screen print Edition of 100 Sheet Size: H 38cm x W 37cm x 0.1cm Sold Unframed Hand printed by the artist onto somerset satin pap...

Artist: Susumu Kamijo Title: Comes A Time Medium: 35 color silkscreen and 3 color woodblock on Somerset Velvet Newsprint Grey Date: 2022 Edition: 30/60 Frame Size: 42" x 35" Sheet Si...

Silk Screen print of fish, coral, and the sun. The artist uses black hues to create a stencil effect and to better showcase the red fish. Framed in a thin silver frame with a black m...

Gary Hume Falling Bear 1995 Silkscreen 32 3/4 x 26 inches; 83 x 66 cm Edition of 25 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available fro...

Gary Hume Bird with Pink Beak 2009 Five-color screenprint on Somerset Satin White paper 17 3/8 x 14 7/8 inches; 44 x 38 cm Edition of 45 Signed, titled, dated, and numbered in graphi...

Yellow Poppies is a natural companion for Red Poppies, March 21, 2012 and is equally strong installed solo. The multi-layered cropped poppies bleed to the paper edge and mimic the su...