Symbol Mixed Media

Ed Ruscha Science is Truth Found Out (Red) Limited Edition scarf , held in bespoke box, 2022 Limited Edition 100% silk twill scarf, bearing Ruscha's authorized signature on both the ...

David Hockney The Rake's Progress Silk Pocket Scarf, ca. 2020 100% silk scarf made in Italy and printed in the UK, held in the original presentation box 16 1/10 × 16 1/10 inches Bear...

Artist: Roy Lichtenstein Title: Rose, Cover from 1 Cent Life (Rose) Screenprint in green over yellow linen and (1 Cent Life) Screenprint in pink over blue lettering on board of unbound book Year: 1964 Medium: Silkscreen on linen on heavy board Size Edition : 2000 Dimensions: 16.31" x 25.32" (Full cover) Dimensions of Image: 16.31 x 11.88 References : Corlett # III.3 Provenance: Private Collection, Berlin Printed by Maurice Beaudet in Paris and published by E. W. Kornfeld, of Bern, Switzerland. Edition of 2000, unsigned as issued in the regular edition of Walasse Ting's '1¢ Life' portfolio of 1964. Superb impression with good strong colors. This iconic piece was executed by Lichtenstein and printed onto stiff paperboard to serve as the front cover of 1 Cent Life, published in 1964 by Kornfeld in an edition of 2000. The image is printed to the edge of the board, with the Lichtenstein silkscreen...

A new middle class began to emerge in Colonial America and a migration into urban areas began. Unlike farmhouses, these new homes were elegant two-store homes designed in the new Georgian style, imitating the lifestyle of the upper middle class of England. The interiors consisted of a passageway down the middle of the house with specialized rooms off the sides, such as a library, dining room, sitting room or a primary bedroom. Unlike the multi-purpose space of the farmhouse, each of these rooms served a separate purpose. This new middle class had leisure time to entertain guests. In this sitting room, the Kupjacks have replicated this stately room with upholstered furniture, a working fireplace, decorative ceramics and silver accent pieces. This miniature room is presented in a custom leather bound case with faux books on either end as if it could be placed in a bookshelf. the room can also be installed in a wall. Kupjack Miniatures Late Colonial Sitting Room, Boston MA, 1760, circa 2009 mixed media 14.25h x 28.75w x 15.25d in 36.20h x 73.03w x 38.73d cm KJK003 Eugene Kupjack and his sons Hank and Jay created museum quality miniature rooms...

"Burgundy Wall Phone" is an original piece by Ulla-Stina Wikander that can be wall-mounted or be free standing. This piece is made from sourcing vintage needlepoint embroidery and ex...

The sprinkles are plastic cut and colored to look like candy sprinkles. Peppy uses a real basketball and deflates it and creates the sculpture to mix two of his favorite things, can...

Artist: Peter Max (1937) Title: Spring Year: 1982 Medium: Unique, mixed media with lithography and hand coloring on Arches paper Size: 6.25 x 5.25 inches Condition: Excellent Inscrip...

Artist: PHASE 2 (1955-2019) Title: Graffiti Train Year: circa 1980 Medium: Aerosol paint and collage on plastic model train Size: 4.5 x 20.5 inches Condition: Excellent Inscription: ...

3-D hand made artwork using Perler beads and mixed media in a plastic pot with foam dirt the artist lives and works out of Sweden and is represented by Krause Gallery in NYC

*New Year Inventory Renewal Sale - 90 Days Until April 30th* *This Price Won't Be Repeated Again This Year* The "Lucky Baby Elephants" series is exclusive of Artist Mauro Ol...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

"My work principally consists of deeply abstracted figure compositions--intuitive constructions that begin with random marks establishing larger masses of torsos, heads, and limbs in an undefined setting. The emphasis is almost purely on intuition. The figures are born of their surrounding environment, emerging only partially and fugitively from the layers of pigment. A narrative is evident but never overt. A crown, a shield, a boat, a wheel. Though the subject has recently coalesced around my reading of Dante and Shakespeare, the settings remain extremely vague- a beach, an interior, a woodland. The paintings are, in the end, meditations on the relationship between the protagonists in a wordless drama. In my paintings, I use a cold wax medium combined with dry pigments, oil paint, and embedded fragments of burlap. The surfaces eventually build up into a dense, rugged terrain." --Thaddeus Radell