Screen More Prints

Immerse yourself in the mesmerizing world of "Unity Obey Flower," a collaborative masterpiece by Kai and Sunny, in association with the renowned Shepard Fairey of Obey. Crafted in 20...

Artist: John Baeder Title: Red Robbin (Diner) Medium: Screenprint Signed: Hand Signed Edition: From the edition of 250 Measurements: 30" x 22" Note: This piece is sold UNFRAMED ...

Colour screenprint on white wove paper Edition of 150 61 x 46 cm (24 x 18.1 in) Signed, numbered and dated on the front. Ink stamped initial “K” on the verso Condition upon request ...

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...

Untitled from Moonstrips Empire News By Eduardo Paolozzi Eduardo Paolozzi (1924-2005) was a pioneering Scottish artist and sculptor associated with the Pop Art movement. Renowned f...

Hand-pulled screenprint composed of six colours on Somerset 310 GSM, with a gloss finish and cut edges, with a blind stamp. 12
 Hand-Signed, dated, and numbered by the artist, on rec...

Rare Limited Edition Serigraph of John Lennon's "One Day At A Time" originally drawn in 1979, this limited edition was released by Bag One Arts (The Lennon Estate) in 1990 and has b...

Öyvind Axel Christian Fahlström (1928–1976) was a Swedish Multimedia artist. Fahlström was born in Sao Paulo, Brazil, In July 1939 he was sent to Stockholm to visit some distant relatives and after World War II he started to study and later on to work as a writer, critic and journalist. From 1960 until 1976 he was married to the Swedish Pop Art painter Barbro Östlihn. In 1953 Fahlström had his first solo exhibition, showing the drawing Opera, a room-sized felt-pen drawing. Also in 1953 he wrote Hätila ragulpr på fåtskliaben, a manifesto for concrete poetry, published in Swedish the following year and in English translation (by Mary Ellen Solt, in her anthology "Concrete Poetry. A world view") in 1968. In 1956 Fahlström moved to Paris and lived there for three years before he moved to Front Street studio, New York City. In New York he worked with different artists and explored his role as an artist further. In 1962 he participated in the New Realists exhibition at the Sidney Janis Gallery, in New York City. His work was included in the 1964 Venice Biennale and he had a solo exhibition at Cordier & Ekstrom Inc., New York. In 1965 he joined the Sidney Janis Gallery. In 1966 his work Performance of Kisses Sweeter Than Wine was included in 9 Evenings: Theatre and Engineering, organized by Experiments in Art and Technology at the 26th Street Armory, New York. The same year his painting in oil on photo...

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...

Yayoi Kusama Dots Infinity (1986). Edition 53/100 Screenprint [2 screens, 2 colors] Signed, titled, dated and numbered 53/100 in pencil by the artist 28 x 32 cm [11 ¹/₃₂ x 12 ¹⁹/₃₂ ...

"Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhythmic cycle, but when energized by a storm, waves can be incredibly des...

A very good impression of this color screenprint on silver foil paper. Signed and numbered 10/450 in pencil by Lichtenstein. Printed by Fine Creations, Inc., New York. Published by L...

A very good impression of this color lithograph and screenprint on Arches 88 white wove paper. One of 14 numbered artist's proofs, aside from the edition of 50. Signed, dated, inscri...

Chuck Sperry lives in the Haight-Ashbury district of San Francisco, where he’s made his particular style of rock poster designs for over 15 years. He operates Hangar 18, a silkscreen print studio, located in Oakland. Sperry works in San Francisco, but exhibits internationally from Athens to Argentina, Bristol to Belgrade (visited Belgrade at the invitation of The Cultural Minster of Serbia). By conducting workshops and lectures all over the planet, Sperry’s tutelage has inspired a new generation of rock poster and silkscreen artists worldwide. His artwork has been exhibited at leading San Francisco art institutions including the San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts; his prints have been archived by the Achenbach Graphics Arts Council, The Oakland Museum of California, San Francisco Public Library (Main Branch), the United States Library of Congress, and the Rock and Roll Hall of Fame. He has brought his rock artistry to projects for Goldenvoice, Live Nation, Virgin Megastore, Guitar Center, Random House, Harper Collins, Harvard University Press, Nylon, and Wired. Released in early 2009, the documentary film “American Artifact...

The Mojo poster was part of VIP ticket packages for the tour. Artists: Shepard Fairey Bands: Tom Petty & The Heartbreakers Edition Details Year: 2010 Class: Fine Art Print Status: Official Tour Print Run: 175/250 Paper: Holographic Fine Art Foil Paper Size: 18 X 24 Markings: Numbered by the artist in black felt marker. Print measures 18X24 and is in perfect condition with no visible flaws. Any questions please let us know. Thank you Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One...

11.4in x 33.5in Unframed 9-layer screenprint on Somerset Tub Sized 600gsm paper. Finished with Individually signature, dated and numbered. For American conceptual artist Hank Willis...

Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures. The Athens National Museum of Contemporary Art, which was founded in 2000 and owns Chryssa's Cycladic Books, is in the process of converting the Fix Brewery into its permanent premises. Greek Exhibits, European Cultural Center of Delphi (Council of Europe). "Apollo's Heritage"(July 4, 2003 – July 30, 2003). Works by sixteen artists: Giorgio de Chirico, Salvador Dalí, Nikos Hadjikyriakos-Ghikas, Nikos Engonopoulos, Yannis Tsarouchis, Giorgos Sikeliotis, Takis, Arman, Fernando Botero, Chryssa, Dimitris Mytaras...

Artist: Bruce Nauman Title: Fingers and Holes (Black and White) Size: 30 x 40 Inches Medium: Lithograph and Screenprint Edition: Edition of 50. AP #7/10 Year: 1994 Notes: Hand Signed, Dated and Numbered by the Artist in Pencil. Printed by Gemini Gel #36.34. From the collection of Brook Alexander Gallery, NYC. Fingers and Holes, a captivating artistic exploration initiated by Bruce Nauman (American, born 1941), originated from a unique challenge he set for himself. Using his non-dominant hand, he drew his right hand, and vice versa, meticulously annotating each sketch with the count of holes formed between the fingers. This seemingly simple endeavor evolved into a profound study of algebraic topology, a mathematical field investigating fundamental properties of distorted objects, such as solids and voids. Nauman ingeniously translated his anatomical sketches into this abstract language. In this realm of mathematical inquiry, seemingly dissimilar objects transform into one another. A coffee cup and a doughnut, for instance, are considered equivalents due to their shared characteristic of having an unbroken surface surrounding a single "hole," a concept known as homeomorphisms. Nauman's deep dive into topology revealed connections between disparate elements, encapsulated in his statement, “Things that don’t look alike morphose one into another.” However, Fingers and Holes goes beyond mathematical intricacies. It delves into the realm of transformation—topological, visual, and linguistic. The iconic "three fingers, one hole" gesture, a symbol of sexual intercourse in what Nauman referred to as "kids’ sign language," served as a pivotal motif. This gesture reappeared in various forms within the series, including daisy chain formations and overlays on clowns' handshakes, which Nauman identified through his exploration. The clowns in Nauman’s work epitomize ambiguity, embodying a spectrum from humor to threat. Their double handshakes, simultaneously obsequious and aggressive, mirror the complexities of human interactions. Nauman found inspiration in this ambiguity, appreciating the clowns for their enigmatic nature. By integrating the "three fingers, one hole" motif into the handshake of his clown prints...

Roy Lichtenstein Reflections on Minerva 1990 Lithograph, screenprint, relief, and metalized PVC collage with embossing on mold-made Somerset paper Signed, numbered, and dated in pen...

Raw, 1971 Ed Ruscha Screenprint with varnish overlay, on Louvain Opaque Cover paper Signed, dated and inscribed 'Artist’s Proof' An artist's proof aside from the edition of 90 Pri...

Silkscreen ink on embossed Arches cover paper. Signed, dated and numbered from the Printers Proof edition of 8 (The regular edition was 250) in pencil on verso by Keith Haring estat...

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...

Erté Tiger Lily (Autumn) c. 1970s Serigraph on silk scarf Plate-signed. Dry-mounted with hand-rolled hem visible

Hanging Out [2020] Limited Edition Abstract Screen Print on Paper Edition number 24 Image size: H:43 cm x W:43 cm Complete Size of Unframed Work: H:64 cm x W:62 cm x D:0.1cm Sold Unf...

Robert Indiana Colby ART (Sheehan, 80), 1973 Silkscreen in Colors on White Wove Paper Pencil signed and numbered 69/100 on the front with artist's copyright @Robert Indiana lower right front Published by Robert Indiana with copyright; Printed by Seri-Arts, Inc. Vintage metal frame included Classic early 1970s work. There was a time, we are told, when every prestigious collector in Germany would have an edition of Robert Indiana's iconic ART print prominently hanging in their home. This is an uncommon and desirable Robert Indiana piece from the early 1970s. Boldly signed in graphite on the recto (front), numbered and bearing the artist's copyright: @ Robert Indiana 1973...

Erté The Dancer, from the At the Theatre Suite (Cloud Commander) 1984 Serigraph with gold foil on paper Ed: 226/300 26 x 20 inches, 36.5 x 30.5 (framed) Hand-signed in pencil lower ...

Erté Six Serigraph with gold foil on paper 1980 Ed: 205/350 18 x 13.5 inches, 28 x 23.5 (framed) Hand-signed in pencil lower right recto and numbered in pencil lower left recto

Radiohead Print Toronto Signed Materials: Screenprint Size 20 × 28 in 50.8 × 71.1 cm Rarity Edition of 500 Near Mint Condition. Signature: Show print from the Skydome in Toronto, ...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

Clare Halifax Y is for Yellow Billed Stork Limited Edition 4 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please n...

Clare Halifax J is for (Blue) Jay Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that ...

Clare Halifax C Is for Canary Limited Edition 3 Colour Silkscreen Print Edition of 75 Image size H 22 x W 22cm Sheet Size: H 27 x W 25cm x D 0.1cm Sold Unframed Please note that in s...

This edition was printed in approximately 40 colors on Lanaquarelle paper with a deckled edge. The print is signed, numbered and dated, 2011 by the artist. The print comes directly f...

I’ve enjoyed bringing some of the spray paint textures from my fine art into my screen prints. I like the subtle color shifts and ethereal gradients that can be achieved with spray p...

Tyler Stout MAD MAX Movie print Event: Spoke Art Mystery Movie @ Roxie SF & Clinton Street Portland. Run: 216/250 Technique: Screen Print with Gold Metall...

Artist: Mr. Brainwash Title: Stairway to London (Zepplin) Size: 22 x 30 Inches Medium: Hand-finished screen print on hand torn, 100% cotton 300gsm cream archival art paper with dec...

Artist: Tom Wesselmann Title: New Bedroom Blonde Doodle Size: 30 x 35 inch Medium: Screenprint on Museum Board Edition: 78/100 Year: 1991 Notes: Hand Signed and Numbered by the Artist in Pencil with blindstamp of the printer, Screened Images, Port Washington, New York. Published by International Images, Inc, Putney, VT. Custom Framed as Shown. Tom Wesselmann, alongside iconic artists like Roy...

Screenprint on handmade Napalese paper. Edition of 3000. Printed by Universität für angewandte Kunst, Vienna. Published by MAK Galerie, Österreichisches Museum für angewandte Kunst, ...

Artist: Keith Haring Title: Growing I Size: 40 1/8 x 29 7/8 in. (101.9 x 75.9 cm) Medium: Screenprint in colors, on Lenox Museum Board, with full margins. Edition: 85 of 100 Year:...

Artist: Mark Sabin Title: Stop Time Medium: Screenprint Signed: Hand Signed Edition: From the edition of 250 Measurements: 32" x 26" Condition: Excelle...

This original screenprint in colours is hand signed in pencil “E. Ruscha” at the lower left sheet edge. It is dated “1973” next to the signature. It is also hand inscribed in pencil ‘Artist...

A very good impression of this color screenprint on Somerset Satin White paper. Initialed and dated in pencil, and titled and numbered 80/100 in pencil. Printed by Watanabe Studio, N...

Artist: Jack Brusca Title: America Medium: Silkscreen Signed: Hand Signed Year: 1977 Edition: From the edition of 200 Measurements: 22" x 33 1/2" Note: This piece is sold UNFRA...

Artist: Mark Sabin Title: Secret Ceremony Medium: Screenprint Signed: Hand Signed Edition: Edition of 250 Measurements: 32" x 26" Condition: Excellent....

Artist: Mark Sabin Title: The Unicorn Medium: Screenprint Signed: Hand Signed Edition: Edition of 250 Measurements: 32" x 26" Note: This piece is sold ...

Artist: Rita Simon Title: Spacescape Medium: Screenprint Signed: Hand Signed Edition: From the Edition of 300 Measurements: 26" x 36" Note: This piece is sold UNFRAMED Conditio...

Artist: Daphne Mumford Title: Moonlight Medium: Screenprint Signed: Hand Signed Edition: From the edition of 200 Measurements: 30" x 22" Year: 1978 Note: This piece is sold UNF...

Manufacturer: Obey Giant Edition Details: Year: 2019 Class: Art Print Status: Official Released: 01/08/19 Run: 417/450 Technique: Letterpress Paper: Cream Cotton Size: 10 X 13 Markin...

Artist: Jack Brusca Title: Girl with Beachball Medium: Silkscreen Signed: Hand Signed Year: 1977 Edition: From the edition of 200 Measurements: 26 1/2" x 25 1/2" Note: This pie...

Artist: William Nelson Copley "CPLY" Title: Baby Buggy Medium: Serigraph Signed: Hand Signed Edition: From the edition of 200 Measurements: 33" x 26"...

One of the most acclaimed artists to emerge from post-war Asia, Takashi Murakami is known for his signature “Superflat” aesthetic: a colorful, two-dimensional style that straddles th...

Artist: Rita Simon Title: Ariadne Medium: Screenprint Signed: Hand Signed Edition: From the edition of 300 Measurements: 26" x 34" Year: 1978 Condition: Excellent. This piece h...

Artist: Peter Keefer Title: Castle Rock Medium: Serigraph Signed: Hand Signed top right corner Edition: Edition of C top left corner Measurements: 30"...

Artist: John Matos "Crash" Title: Paris Review Medium: Serigraph Signed: Hand Signed Measurements: 22" x30" Edition Number: AP 18/25 Condition:Excellent. This p...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this bright yellow, red, ...

Signed and numbered from an edition of 50. Playful gay pride play on a Cheerios box. The text is "Queerios - Love Your Heart so you can be who you are". D...

Artist: William Nelson Copley "CPLY" Title: Baby Bonnet Medium: Serigraph Signed: Hand Signed Edition: From the edition of 200 Measurements: 33" x 26" Frame: This piece is sold UNFRA...

Artist: John Matos "Crash" Title: Brat Medium: Serigraph Signed: Hand Signed Measurements: 11" x30" Edition Number: 39/40 Year: 1998 Condition:Excellent. This piece has been stored ...