Screen Figurative Prints

Screenprint in colors on paper. Hand signed & numbered by the artist. From the edition of 300. Sheet size 41 x 30 inches. Image size approx 35 x 25 inches. Artwork is in excelle...

KAWS (American, b. 1974) Gone, 2019 Medium: Screenprint on Arches Aquarelle 300gsm (incl. limited edition catalogue for the exhibition of KAWS: Companionship in the Ages of Lonelines...

Faces of Dalí #6 is a serigraph on paper with an image size of 26 x 18 inches, signed 'Yvaral' lower right and numbered 115/200 lower left. From the edition of 263 (there were also 2...

The City is an original artwork realized in the 1980s by Giuseppe Aleandro Hand signed and numbered on the lower margin. Mixed colored serigraph. Edition of 14/150 prints.

Venise Éclatante is a serigraph on canvas, image size 28.5 x 36 inches, signed 'FRESSINIER' lower right and numbered 205/295 lower left. Framed in an ornate, gold-tone frame. From th...

Santa Claus (FS.II.266) from the Myths portfolio is 37.87 x 38 inches, signed and numbered lower right 'Andy Warhol' 132/200. From the edition of 271 (there were also 30 AP, 30 TP, 5...

Poet L. Strelevits portait. 1972, paper, screen print, 69x51 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she b...

Screen print on 100% cotton archival rag fine art paper with deckled edges. Hand Signed and Numbered by the Artist. From the edition of 200. Certificate of Authenticity is included. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: D*Face (British, born 1978) is a contemporary street artist best known for his distinctive graffiti, stickers, and posters placed in various cities around the world. Featuring recurring imagery of celebrities and punk iconography, D*Face’s oeuvre is characterized by his bright, graphic aesthetic and focus on consumerism and the ways in which it shapes everyday life. His diverse range of influences include skateboarding culture, early New York City subway graffiti...

Christo's portfolio of 10 prints and a scale model sculpture of the ‘5,600 Cubic Meter Package’ for Documenta 4 in Kassel, 1968 (height 68 cm). Sold in white vinyl portfolio box. The...

Series - Market in Provence by Lélia Pissarro (B. 1963) Serigraph Image Size: 38 x 48 cm (15 x 19 inches) Sheet Size: 48 x 59 cm (18 ⅞ x 23 ¼ inches) Signed and numbered Printed in an edition of 300 SOLD UNFRAMED Literature Lélia Pissarro, The Colours of Silence, London, 2010, p. 205 (illustrated) Artist's Biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia...

Hand signed and numbered by the artist. From the Zodiac Suite. Framed size approx 31 x 26 inches. Artwork in excellent condition. Additional images are available upon request. Certif...

Takesada Matsutani (Japanese, b. 1937) Propagation-L, 1971 Screenprint in colors Edition 51/75 28 x 27 inches 28.25 x 27.25 inches, framed Takesada Matsutani is a Japanese avant-ga...

The City is an artwork realized in the 1980s by Giuseppe Aleandro Hand signed and numbered on the lower margin. Mixed colored serigraph. Edition of 15/150 prints.

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 32 x 42 inches. Image size 27 x 35.5 inches. Edition of 275. Artwork is in excellent condition. Certifica...

Artist: Peter Max (1937) Title: Baloo Baba Year: 1972 Edition: 300, plus proofs Medium: Silkscreen on wove paper Size: 16 x 18 inches Condition: Excellent Inscription: Signed by the ...

Hand finished hand pulled screen print on 310 GSM archival art paper. Hand signed, dated and numbered by the artist. Edition of 20. Frame size approx 34 x 26 inches. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered. About the Artist: Dutch artist FAKE from Amsterdam was born on May 15th 1980 and has been doing graffiti and street art half his life. FAKE is self-taught and started experimenting and combining styles early on to come to a unique signature. FAKE’s work is some of the cleanest stuff around. His clean, taut work, full of color, has been in shows all over the world; from Holland, Norway, Denmark and the UK until the US and even countries as Iran. Apart from being a perfectionist, FAKE’s signature style is that of storytelling. Stencils give him the power to use any image on any desired background and give it a humorous or ironic twist. One of his most iconic works, FAKE love...

Stephen Powers Turn to Me I See Eternity, 2016 Three color screenprint on 235g Coventry Rag Pencil with artist's trademark hat logo and numbered from the edition of 100 12 × 12 inche...

Herbert Bayer Things to Come tray, 2018 Porcelain dish with metallic gold edge and silkscreened image Limited edition of an unknown quantity, originally distributed by the Museum of Modern Art, before it sold out. Measurements: Box: 5.5 x 5.5 inches Tray: 5 x 5 inches Provenance: Originally distributed by the Museum of Modern Art, before it sold out Manufacturer: Galison Publishing LLC and The Museum of Modern Art Herbert Bayer biography: Artistic polymath Herbert Bayer was one of the Bauhaus’s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career. Bayer began his studies as an architect in 1919 in Darmstadt. From 1921 to 1923 he attended the Bauhaus in Weimar, studying mural painting with Vasily Kandinsky and typography, creating the Universal alphabet, a typeface consisting of only lowercase letters that would become the signature font of the Bauhaus. Bayer returned to the Bauhaus from 1925 to 1928 (moving in 1926 to Dessau, its second location), working as a teacher of advertising, design, and typography, integrating photographs into graphic compositions. He began making his own photographs in 1928, after leaving the Bauhaus; however, in his years as a teacher the school was a fertile ground for the New Vision photography passionately promoted by his close colleague László Moholy-Nagy, Moholy-Nagy’s students, and his Bauhaus publication Malerei, Photographie, Film (Painting, photography, film). Most of Bayer’s photographs come from the decade 1928–38, when he was based in Berlin working as a commercial artist. They represent his broad approach to art, including graphic views of architecture and carefully crafted montages. In 1938 Bayer emigrated to the United States with an invitation from Alfred H. Barr, Jr., founding director of The Museum of Modern Art, to apply his theories of display to the installation of the exhibition Bauhaus: 1919–28 (1938) at MoMA. Bayer developed this role through close collaboration with Edward Steichen, head of the young Department of Photography, designing the show Road to Victory (1942), which would set the course for Steichen’s influential approach to photography exhibition. Bayer remained in America working as a graphic designer for the remainder of his career. -Courtesy of MOMA More about Herbert Bayer: Herbert Bayer (1900-1985) was born in Austria, where he entered into an apprenticeship under the architect and designer, Georg Smidthammer, with whom Bayer learned drawing, painting, and architectural drafting, inspired by nature and without formal knowledge of art history. In 1920, Bayer discovered the theoretical writings of the artist Vassily Kandinsky, as well as Walter Gropius’ 1919 Bauhaus manifesto, in which Gropius declared the necessity for a return to crafts, in which were found true creativity and inspiration. Bayer traveled to Weimar to meet Gropius in October of 1921 and was immediately accepted into the Bauhaus. There, he was deeply influenced by the instruction of Kandinsky, Johannes Itten and Paul Klee. In 1928 Bayer moved to Berlin together with several members of the Bauhaus staff including Gropius, Moholy-Nagy and Marcel Breuer. He found work as a freelance graphic designer, particularly with German Vogue, under its art director Agha. When the latter returned to Paris, Bayer joined the staff full time, and also worked increasingly with Dorland, the magazine's principle advertising agency. It was in the period from 1928 to his emigration to America in 1938 that he developed his unique vision as an artist, combining a strongly modernist aesthetic sense with a rare ability to convey meaning clearly and directly. This seamless combination of art, craft and design mark Bayer as true prophet of Bauhaus theories. Bayer followed Gropius to America in 1938, and set his breadth of skills to work later that year in designing the landmark Bauhaus 1918-1928 exhibition at the Museum of Modern Art. Bayer flourished in New York as a designer and architect, but it was his meeting with the industrialist Walter Paepcke in 1946 that allowed him to harness his concepts of 'total design' to the postwar boom. Paepcke was developing Aspen as a cultural and intellectual destination, and found in Bayer the perfect collaborator. Bayer was designer, educator and indeed architect for Paepcke's Aspen Institute...

Hand signed and numbered by the artist. 12 Color, Hand-Pulled Screen Print on Mohawk Superfine UltraWhite paper with deckled edges. Edition of 150. Artwork is in excellent condit...

Romero Britto "Golden Moment Ice Skater". Screenprint on paper Signed lower left R. Britto & numbered 19/100. Approx: 16" x 19" in. Condition: In excellent condition Romero Britt...

Serigraph on paper. Hand signed and numbered by the artist. Image size approx 37 x 26 inches. Artwork is in excellent condition. Certificate of Authenticity is included. All rea...

Andy Warhol (1928-1987) Andy Warhol für die Grünen, 1980 Medium: Screenprint on paper (election poster) Dimensions: 101 x 77 cm Edition size unknown: Not signed, not numbered Publisher: F.I.U. Free International University, Düsseldorf (founded by Joseph Beuys) Original election poster for the German green...

23" x 11" Unframed Limited Edition Serigraph of 295 Hand Signed by Anora Spence

Hand signed and numbered by the artist. Includes a certificate of authenticity. Additional images available upon request.. TP Edition (Trail Proof). All reasonable offers will be co...

Andy Warhol (1928-1987) Andy Warhol für die Grünen, 1980 Medium: Screenprint on paper (election poster) Dimensions: 101 x 77 cm Edition size unknown: Not signed, not numbered Publisher: F.I.U. Free International University, Düsseldorf (founded by Joseph Beuys) Original election poster for the German green...

Harlequin by Victor Vasarely, Hungarian (1908–1997) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 78/250 Image Size: 25.75 x 16 inches Size: 30.5 x 19.75 in....

23" x 11" Unframed Limited Edition Serigraph of 295 Hand Signed by Annora Spence

Hand signed by Andy Warhol & Mick Jagger, numbered in pencil. AP 45/50 (there was also a main edition of 250). Screen print on Arches Aquarelle (Rough) Paper. Printed by Alexande...

Juergen Kuhl Flowers Year: 2018 Color silkscreen Size: 35.1 × 35.1 inches COA provided *mounted on foam core board About Jurgen Kuhl: In Cologne, the city of art in Germany, paint...

Sidewalk (FS.II.304) from MOCA's 'Eight by Eight' portfolio is a screenprint on paper, 29 x 42 inches, signed 'Andy Warhol' and numbered 167/250 lower left. From the edition of 349 (there were also 30 AP, 45 TP, 3 TPPP, 6 PP, and 15 HC). Framed in a contemporary gold leaf, closed-corner frame. LITERATURE Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, New York, 2003, II.304. In 1983, Warhol created Sidewalk for the Eight by Eight to Celebrate the Temporary Contemporary portfolio. The portfolio itself consisted of eight prints created by various artists as a fundraising vehicle for the MOCA in Los Angeles. The participating artists included: Richard Diebenkorn, Sam Francis, David Hockney, Ellsworth Kelly, Robert Rauschenberg, Niki de Saint Phalle, Jean Tinguely, and Andy Warhol. The Eight By Eight portfolio was printed in an edition of 250. Warhol also produced 45 unique trial proofs for the Sidewalk edition. Warhol's contribution of Sidewalk is based on his own photograph of film stars' signatures, footprints, and handprints as they appeared at the Grauman's Chinese Theater in Hollywood, CA (now called TCL Chinese Theater). This particular shot showcases Cary Grant, Judy Garland, Jack Nicholson and Shirley Temple. “Much of Warhol’s work was concerned with celebrity, but while he cultivated the appearance of the ultimate fan, often celebrating the glamour of the American dream and its cultural heroes, his works also challenge the beliefs intrinsic to those ideals. It was Warhol who famously declared that everyone could have fifteen minutes of fame. The immortalising nature of appearing in Grauman’s forecourt of the stars, where one’s name is set in concrete for future generations, seems a way to counteract this idea of such fleeting fame.” (“Andy Warhol Sidewalk...

Image Size: 17" x 17.5" Unframed Limited Edition Fine Art Print of 195 Hand Signed by Annora Spence

Rene Azcuy (Cuba, 1939) 'Besos Robados (45 Aniv.)', 2015 silkscreen on paper 30 x 20.1 in. (76 x 51 cm.) Edition of 200 ID: AZC-102 Unframed

Hi Mom I Made It, 1988 Bill Schenck Serigraph Size: 26 x 30 inches The artist, Billy Schenck, has been known internationally for the past 43 years as one of the originators of the contemporary “Pop” western movement, and an American painter who incorporates techniques from Photo-Realism with a Pop Art sensibility to both exalt and poke fun at images of the West. Like the heroes he idolized in B-Westerns, Schenck might well be called the “Good Badman” of Western American art. Early in his career he became known for appropriating cinematic imagery, which he reproduced in a flattened, reductivist style, where colors are laid side-by-side rather than blended or shadowed. Drawing upon narrative tensions that have attracted mass audiences to western fiction and movies, Schenck added hot colors, surreal juxtapositions, and stylized patterning to explore clashes between wilderness and civilization, the individual and community, nature and culture, freedom and restriction. His irreverence in associating western heroes with racism, the drug scene, consumerism and sexuality led to an evolving series of works. Among them one finds deserts populated with cowgirls sipping champagne on the bumpers of Rolls Royces, Native Americans contemplating the statistics of their land loss, and “cerealized” self-portraits of the artist in leather and sunglasses. Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Tempe to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee...

Image Size: 19" x 15.5" Unframed Limited Edition Fine Art Print of 195 Hand Signed by Annora Spence

Image Size: 23" x 13.5" Unframed Limited Edition Fine Art Print of 195 Hand Signed by Annora Spence

11" x 20" Unframed Limited Edition Serigraph of 295 Hand Signed by Annora Spence

11" x 20" Unframed Limited Edition Serigraph of 295 Hand Signed by Anora Spence

Hand signed and numbered by the artist. Serigraph on paper. Sheet size 32 x 40 inches. Image size 23.75 x 36 inches. Edition of 275. Artwork is in excellent condition. Certific...

Stephen Powers EVERYTHING IS SHIT Except You Love, 2014 Screenprint on 335 GSM Coventry Rag paper 24 × 24 inches Edition PP 3/3 Hand Signed and numbered in the artist's distinctive h...

36" x 23.5" Unframed Limited Edition Hand Pulled Silkscreen with Hand Embellishment of 300 Hand Signed by R.J. Hohimer

Pas de Deux I (David Salle and Janet Leonard) is a serigraph on paper with an image size of 36 x 20 inches, signed ‘Alex Katz’ lower left and numbered 110/150. From the edition of 17...

Image Size: 23" x 16.5" Unframed Limited Edition Fine Art Print of 295 Hand Signed by Annora Spence

Image Size: 17" x 17.5" Unframed Limited Edition Fine Art Print of 195 Hand Signed by Annora Spence

John Baldessari (American, 1931-2020) Zorro (Two Gestures and One Mark), 1998 Medium: Offset lithograph and screenprint on Arches paper, and flip book Dimensions: 25.4 x 20.3 cm (10 ...

16" x 23" Unframed Limited Edition Serigraph of 295 Hand Signed by Annora Spence

Serigraph on paper. Hand signed and numbered by the artist. Sheet size: 22.75 x 28.5 inches. Image size: 17 x 23 inches. Edition of 250. Artwork is in excellent condition. Cert...

Image Size: 23" x 13" Unframed Limited Edition Fine Art Print of 195 Hand Signed by Annora Spence

36" x 23.5" Unframed Limited Edition Hand Pulled Silkscreen with Hand Embellishment of 300 Hand Signed by R.J. Hohimer

42" x 28" Framed Limited Edition Serigraph of 300 Hand Signed by R.J. Hohimer

27" x 22" Unframed Limited Edition Serigraph of 300 Hand Signed by R.J. Hohimer

Artist: Keith Haring Title: Untitled (Cup Man) Portfolio: Kinderstern Medium: Screenprint in colors on wove paper Date: 1989 Edition: 48/100 Frame Size: 37 3/4" x 30 3/4" Sheet Size:...

20" x 26" Unframed Limited Edition Serigraph of 125 Hand Signed by Paul Lagace 1984

Artist: Keith Haring, American (1958 - 1990) Title: New Year's Invitation 1988 Year: 1988 Medium: Silkscreen on Paper Image Size: 11 x 8 inches This bears a printed signature. It is not hand signed as issued. Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist and social activist whose work responded to the New York City street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Haring's work was often heavily political and his imagery has become a widely recognized visual language of the 20th century. Keith Haring was born in Reading, Pennsylvania, on May 4, 1958. He was raised in Kutztown, Pennsylvania, by his mother Joan Haring, and father Allen Haring, an engineer and amateur cartoonist. He had three younger sisters, Kay, Karen and Kristen. Haring became interested in art at a very early age spending time with his father producing creative drawings. His early influences included Walt Disney cartoons, Dr. Seuss, Charles Schulz, and the Looney Tunes characters in The Bugs Bunny Show. In Haring's teenage years, he left his religious background behind and hitchhiked across the country, selling vintage t-shirts and experimenting with drugs. He studied commercial art from 1976 to 1978 at Pittsburgh's Ivy School of Professional Art but lost interest in it. He made the decision to leave after having read Robert Henri's The Art Spirit (1923) which inspired him to concentrate on his own art. Haring had a maintenance job at the Pittsburgh Center for the Arts and was able to explore the art of Jean Dubuffet, Jackson Pollock, and Mark Tobey. His most critical influences at this time were a 1977 retrospective of the work of Pierre Alechinsky and a lecture by the sculptor Christo in 1978. Alechinsky's work, connected to the international Expressionist group CoBrA, gave Haring confidence to create larger paintings of calligraphic images. Christo introduced him to the possibilities of involving the public with his art. Haring's first important one-man exhibition was in Pittsburgh at the Center for the Arts in 1978. He moved to New York to study painting at the School of Visual Arts. He studied semiotics with Bill Beckley as well as exploring the possibilities of video and performance art. Profoundly influenced at this time by the writings of William Burroughs, he was inspired to experiment with the cross-referencing and interconnection of images. He first received public attention with his public art in subways. Starting in 1980, he organized exhibitions at Club 57, which were filmed by the photographer Tseng Kwong Chi. Around this time, "The Radiant Baby" became his symbol. His bold lines, vivid colors, and active figures carry strong messages of life and unity. He participated in the Times Square Exhibition and drew animals and human faces for the first time. That same year, he photocopied and pasted provocative collages made from cut-up and recombined New York Post headlines around the city. In 1981, he sketched his first chalk drawings on black paper and painted plastic, metal, and found objects. By 1982, Haring had established friendships with fellow emerging artists Futura 2000, Kenny Scharf, Madonna and Jean-Michel Basquiat. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world. His "Crack is Wack" mural, created in 1986, is visible from New York's FDR Drive. He got to know Andy Warhol, who was the theme of several of Haring's pieces, including "Andy Mouse". His friendship with Warhol would prove to be a decisive element in his eventual success. In December 2007, an area of the American Textile Building in the TriBeCa neighborhood of New York City was discovered to contain a painting of Haring's from 1979. In 1984, Haring visited Australia and painted wall murals in Melbourne (such as the 1984 'Detail-Mural at Collingwood College, Victoria') and Sydney and received a commission from the National Gallery of Victoria and the Australian Centre for Contemporary Art to create a mural which temporarily replaced the water curtain at the National Gallery. He also visited and painted in Rio de Janeiro, the Musée d'Art Moderne de la Ville de Paris, Minneapolis and Manhattan.[9] He became politically active, designing a Free South Africa poster...

Nja Mahdaoui (Tunisia, 1937) Untitled, ca.2000 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Good condition Unframed ID: NJA1099-001-099 ______________________________ Born in 1937, Tunis. He lives and works in Tunisia. In 1967, he graduated from the Academy of Arts of Santa Andrea in Rome and the Ecole du Louvre (Department of Oriental Antiquities). He pursued his academic training in Paris, at the Cite Internationale des Arts, on a scholarship from the Tunisian Government. He’s one of Tunisia’s leading artists and a notable Arab contemporary artist. Nja Mahdaoui is a visual artist who considers himself ‘an explorer of signs’ and has been described as a ‘choreographer of letters’. His work inspired by Arabic calligraphy is remarkably innovative as the aesthetic dimension of letters brings forth a sense of the poetic – highly rhythmic – arresting us with its rich abstracts compositions. Famous for his meticulous work in ink on parchment, Mahdaoui stresses the visual impact of his compositions, devoided of actual textual meaning, which he refers to as ‘calligrams’ or ‘graphemes’. Thus, the concept beyond the works reveals how the ideas are conveyed creatively through the artist choice of materials and medium: Canvas, vellum, papyrus, arches paper, silkscreen print, book, poster, design, sculpture, aluminium, brass, melamine, drum, textile, embroidery, tapestry, ceramic, wood, jewelry, stained steel glass, architecture, planes… Nja has been Jury member and Honor guest at many international events and biennales (Sharjah International Arabic Calligraphy Biennial, UAE, 2006, The International Arts Biennial of Tehran, Iran, 2006, Abu Dhabi Art Festival in 1989…) and he was member of the International Jury of the Arts Prize of UNESCO from 1993 to 1995. He has received a number of distinctions and international awards, such as the ‘Great prize for Arts and Letters’ from the Tunisian Ministry of culture in 2006 and the UNESCO great prize for Artcrafts in the Arab world in 2005. He designed monumental artworks such as windows murals for Facebook new Menlo Park Headquarters in California (2018), the window façade of the ALECSO headquarters in Tunis (2015), KAUST University Campus Mosque in Saudi Arabia (2010), Gulf Air aircrafts (50th Anniversary, 2000), sculptures and tapestries in Jeddah and Riyadh airports, Aramco head office in Dahran, and created many logos, designs and posters for theater plays, books, companies, and organizations such as Amnesty International in 1991… In addition, he took part in Art Projects, introducing his work in performing art within the framework of theatre and dance. Performances of ‘Total Art’ and ‘Body-Writing’: interactive communication between Arab and European artists, and artists from North America and Asia on the theme “Language and register in exchanges in visual arts“ in Tunisia, France, Italy, Denmark, Japan, Cuba, Canada, Germany and Jordan… In 2012, he has performed a charity live creation for Noor Dubai Foundation, in collaboration with 4 young Emiratis artists, hosted and organized by Christie’s, under the patronage of H.E. The Minister of Culture for the UAE, Abdulrahman Al Owais. And recently, a performance with the Italian artist Agostino Ferrari, ‘Meeting signs’ at the Living Art National Center in Tunisia and during the ‘Confini Festival’ at the Municipal Theater F. Cilea in Reggio Calabria, Italy. He takes part regularly in seminars and colloquia at universities in Tunisia and abroad and gives lectures. At the American University of Sharjah in 2007, in the AUD American University of Dubai in 2011 – ‘Crossing the Line: Drawing in the Middle East – intersections of transdisciplinary practice and understanding’, and lately at CSUN California State University Northridge and at UCLA University of California, Los Angeles in 2011. Nja participated in numerous exhibitions worldwide including ‘Word into Art’ at the British Museum, ‘The Brush dances & the Ink Signs’ at the Hermitage Museum, ‘Perspectives: Arab & Iranian modern masters’ at the Saatchi Gallery, the ‘Arab Book...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Stamped and dated with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket simultaneously reflects Warhol's central preoccupations with commercial culture (the ticket is, par excellence, an object that is bought and sold), as well as his fascination with Hollywood - as the ticket, quite literally, represents an entree into the world of film. Warhol's appropriation of the flower - an otherwise sentimental and decorative motif, transforming it into a symbol of the Pop Art movement, is a hallmark of his early style and innovations. Andy Warhol's vibrant vintage color silkscreen Lincoln Center Ticket from the fabulous Sixties is considered one of the more iconic and recognizable Warhol images. It is also one of Warhol's earliest prints. The Vera List...

Anne Imhof (German, b. 1978) YOUTH, 2023 Medium: Complete set of 4 giclèe prints with screenprinted elements Dimensions: Each 25.4 × 30.46 cm (10 x 12 in) E...

Robert Indiana HOPE for the Democratic National Committee, 2008 Oil silkscreen in colors on watermarked Coventry archival paper 25 × 19 inches Edition 138/200 Signed, dated and numbered 138/200 in graphite pencil on the front; paper is watermarked by AIA with text (There were also 25 Artist's Proofs) Published by American Image Art (AIA) for the Obama Victory Fund and the Democratic National Committee, master printer Gary Lichtenstein Unframed This work was published in 2008 as part of the "Artists for Obama" portfolio, in which some of the top artists contributed prints to raise money for Obama's presidential campaign. Robert Indiana donated all of the proceeds of the sale of this work to electing Barack Obama. During the 2020 election, it became an even greater part of American popular culture when it was featured on the influential NBC show Saturday Night Live's cold open skit featuring the Vice Presidential debate between Kamala Harris and Mike Pence. Mid-debate, "Joe Biden" (played by actor Jim Carrey...

Louise Bourgeois Be Calm Butter or Trinket Dish, 2017 Screenprint on Ceramic 6 × 4 × 1 inches Unframed Stamped by artist's estate, bears printed copyright and name stamp of The Easto...