Screen More Art

Andy Warhol (After) Camouflage Self-Portrait 1986, 2020 Fine Bone China 10 1/2 × 10 1/2 inches Limited Edition of 175 Signed in plate, Authorized signature and edition details fired ...

Keith Haring, Montreux Jazz Festival posters (set of 3) Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 1983 after the organiser, Pierre Keller...

Keith Haring, Montreux Jazz Festival posters (set of 3) Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 198...

RICHARD PAUL LOHSE Penetration of Four Interlaced Colour Groups (Durchdringung von vier verschränkten Farbgruppen), 1970 Color Silkscreen on velincarton (thin board) Edition 32/50 P...

RICHARD PAUL LOHSE Modulare Ordnungen (one plate), 1976 Silkscreen on velincarton (thin board) Pencil signed and numbered 62/100 on the front Vintage Geneva, Switzerland-made frame ...

Frank Stella The Whale Watch Shawl (signed in indelible black marker), held in red silk presentation box; also with embossed COA hand signed by both Frank Stella and Kenneth Tyler, 1...

Frank Stella Vortex Engravings #5 - 8: Gift Box of Four Limited Edition Porcelain Plates with COA hand signed by Frank Stella and David Mirvish, 2000 Suite of four (4) Fine Bone Chin...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Tracey Emin Kiss Me Kiss Me Towel, 2014 with Official plate signed COA Brand new: unframed and comes folded (framed images for inspiration only) Limited Edition silkscreen on oversiz...

KAWS, 2019, Limited Edition screenprint from an edition of 750. 15 in x 12 in. Signed and numbered by artist. Incredible print and beyond iconic. Great investment in one of the premi...

„Pride“ (3D) (2021) by Insane51 9-Color Screen Print with Spot Varnish on 310gsm Tub Sized Somerset Satin Size: 60 cm x 60 cm Edition of 125 (#104/125) Signed and numbered by the art...

Jeff Koons Louis Vuitton Da Vinci bag (signed and dated by Jeff Koons), 2017 Limited Edition print with mixed media accessories and embellishmen...

Barbara Kruger's powerful interpretation of the American flag is screen printed onto a large cotton bandana. These were a limited timed released where they were only sold for about a...

Marilyn Minter RESIST T-Shirt (Hand signed and dated by Marilyn Minter), 2018 Silkscreened Cotton T-Shirt (XL), hand signed in indelible marker Boldly signed and dated 2018 in indeli...

"Pearl Jam Seattle 2021 Streaming Event" Wood Edition by Ian Williams Discover the rustic charm of "Pearl Jam Seattle 2021 Streaming Event" by acclaimed artist Ian Williams. This uni...

"Angel of Hope and Strength" Silkscreen Print by Obey Giant Artist: Shepard Fairey Year: 2020 Dimensions: 18" x 24" Edition Size: 550 prints Print Details: Signed and numbered by She...

Fossil Factory. 18 x 24 inches. Screen print on cream Speckle Tone paper. Signed by Shepard Fairey. Edition of 450. The Fossil Factory image is an illustration I made based on a for...

Yayoi Kusama Infinity Umbrella, 2014 Silkscreen on 100% polyester umbrella with plastic handle 37 × 54 × 54 inches This limited edition silkscreened umbrella was created exclusively...

A very limited number of Invader t-shirts were released for each size in 2015 for his Wipe Out exhibition in Hong Kong. This is a rare black XL. Graphic is of the Invader street mos...

Keith Haring, Montreux Jazz Festival posters (set of 3) Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 198...

Silkscreen Print with Silver Metallic Inks 24 × 18 in 61 × 45.7 cm Edition 93/300 Part of a limited edition set Includes a Certificate of Authenticity "Refers to the ripped 'One Ea...

SLICKMAU5 2020 DEADMAU5 X SLICK Black Hole Edition Signed Poster. Edition: 81/100 Size: 24 Inches H x 24 Inches W SOLD OUT - Edition Brand new in perfect condition. Slick’s work ha...

Clare Halifax has hand printed an 8 colour screen print depicting the Golden Gate Bridge in San Francisco, California. Printed onto Somerset Satin Paper 300gms with deckle edge. The ...

Nobuyoshi Araki Geisha Skateboard Triptych, ca. 2014 Set of (3) Skateboards of Silkscreen on 7 ply Canadian Maplewood Deck Signed in plate, Each signed on the deck and hand numbered ...

Untitled I (Abstract in Blue, Green and Purple) by Victor Pasmore, 1988 Additional information: Medium: screenprint 57 x 84 cm 22 1/2 x 33 1/8 in signed, dated and numbered in penci...

Yayoi Kusama - DOTS OBSESSION: RED BIG DOTS Date of creation: 2018 Medium: Screen print on Canadian maple wood Edition: Open Size: 80 x 20 cm Condition: In mint condition, brand new ...

First Edition Of The Stickers Banksy Made To Post Up In Bristol And London To Encourage Tagging On Otherwise Clean Walls. His First Venture Into The "Fight Club" Style Mayhem And A ...

Barbara Kruger Don't Be a Jerk skateboard, 2017 Screenprint on skate deck 31 × 8 inches From the Barbara Kruger "The Drop" show at Performa 17 in NYC. which sold out. An ironic play...

Florence Arnold (American 1900-1994) Hard-edge Abstract Square Screenprint. Pencil Signed, Dated, and Numbered 18/25 Size: 16"x16". Florence Arnold began painting seriously in 194...

Frank Stella Vortex Engraving #1 Charger Plate, 2000 Limited Edition Porcelain Plate Signature fired into base of the plate; numbered with David Mirvish Designs logo as well as the m...

Sandro Chia Kunstlerplatzteller Artists Plate, ca. 1995 Ceramic Plate. Artist Signature Fired into Plate. Artist signature fired into the plate on the front and back 12 1/4 inches di...

Florence Arnold (American 1900-1994) hard-edge abstract color square Screenprint, pencil signed, dated, and numbered 14/25 Sized 16"x16". Florence Arnold began painting seriously...

Florence Arnold (American 1900-1994) hard-edge abstract color square screen print (c.1977) pencil signed 15/25 103CS-FA77 Florence Arnold began painting seriously in 1947. By the...

Florence Arnold (American 1900-1994) hard-edge abstract color square screenprint, pencil signed, and numbered 25/25 16"x16". Florence Arnold began painting seriously in 1947. By ...

Florence Arnold (American 1900-1994) Hard-Edge Abstract Color Square Screen Print (c.1977) pencil Signed and Date 1977 - 17/25 103CS-FA77 Florence Arnold began painting seriously...

Yayoi Kusama Love Forever Ceramic Bowl (VIP Gold Edition), 2017 Limited Edition Porcelain Bowl Signature, titled and date fired into bowl on the underside 4.5 x 4.5 x 1 inch Limited...

Ultra rare and clever Banksy Americans Working Overhead Sticker. Printed with “018/BNK/5Y” on bottom of sticker. That is the item number for the sticker. Banksy made these with numbe...

This is set of 3 Flood Magazines are from 2020. Each of the magazines have a different Shepard Fairey (Obey Giant) cover, and on the flipside of the magazine is David Bryne, H.E.R., ...

The Skateroom x Estate of Jean-Michel Basquiat, Trumpet, 2014 Screenprints in color on three individual maple wood skate decks With artist's printed signature on verso 31 x 8 in. (78...

Robert Rauschenberg, Overdrive, 2017 Screenprints in color on three individual maple wood skate decks With artist's printed signature 31 x 8 in. (78.7 x 20.3 cm), each, unframed Edit...

Kehinde Wiley Andries Stilte oversized beach towel, 2008 Silkscreen on 100% Cotton Large Beach Towel or hanging tapestry 70 × 60 inches Edition of 2000 In original packaging with ta...

Donald Sultan is an American painter, sculptor, and printmaker. He is particularly well-known for large-scale still life paintings, and one of the first to employ a wide range of ind...

1983 Keith Haring Montreux Jazz Festival Green Original Poster 5 colour neon screenprint on heavy stock paper Open edition, signed and dated by the artist in plate 70 x 100 cm ...

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...

Screenprint on mirror, engraved signature at lower right

Roy Lichtenstein Kiss II, Reversible Beach Blanket/Towel, 2013 Cotton Terry LARGE: 59 × 70 × 3/10 inches Limited Edition of 1000 (unnumbered) Brand New ...

RETNA Skateboard Skate deck (Blue with wood back) with COA hand signed by RETNA, 2018 Silkscreen on Maplewood skate deck. Accompanied by Hand signed Certificate of Authenticity on Embossed Letterhead. Limited Edition of 100 Separate embossed Certificate of Authenticity hand signed by RETNA 32 × 8 1/2 inches Unframed Limited edition of only 100 - not to be confused with similar looking skateboard from the larger edition of 250. This work is accompanied an embossed Certificate of Authenticity, issued by the sponsor "Beyond the Streets...

Louise Bourgeois I Have Been to Hell and Back Handkerchief, 2007 Embroidery on 100% Cotton Handkerchief With the artist's silkscreened initiala Han...

1983 Keith Haring Montreux Jazz Festival Green Original Poster Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 1983 after the organiser, Pierre...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

Judy Chicago Madame De Stael Dessert Plate, 2020 Silkscreen on fine bone china Signed in plate, Signature fired on bottom 8 33/100 × 8 33/100 x .3 inch...

Maurizio Cattelan Untitled limited edition porcelain plate in bespoke gift box, 2020 Silkscreen on Fine Bone China, held in specially designed gift box with artist's authorized signature Signed in plate, Artist signature fired onto the back, Edition of 175 10 1/2 × 10 1/2 inches (plate alone) Publisher Prospect, NY Artist signature fired onto the back of the plate and on the bespoke box. The underside of the plate and box expressly states that it was produced in a limited edition of 175 Makes a superb gift. Originally purchased to support the Coalition for the Homeless. The contemporaneous statement from the Coalition for the Homeless, New York: In lieu of our 26th annual ARTWALK NY event in 2020, which was cancelled due to the COVID-19 pandemic, the Coalition for the Homeless created Artist Plate Project to support our lifesaving work. The Coalition is honored to have worked with 50 world-renowned artists to create beautiful limited-edition dinner plates. The plates were produced by Prospect and available for purchase on Artware Editions from November 16 through December 31, 2020. The innovative project was featured in the New York Times, T Magazine, Town and Country Magazine...

Portfolio with complete text folder, bound text volume and 80 color screenprints, loose as issued. The German edition. Published by Josef Keller, Starnberg. Original cream paste boa...

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...

Maya Hayuk LCD 2018 Each print is signed, numbered, and hand-finished by Maya Hayuk With their symmetrical compositions, intricate patterns, and lush colors, Maya Hayuk’s paintings ...

RETNA X BTS Silkscreen Skateboard Edition of 250 2018 Limited edition Silkscreen on maple wood skateboard deck. 31 × 8 × 1 in 78.7 × 20.3 × 2.5 cm Edition of 250 Comes with Certifica...

RETNA X BTS Silkscreen Skateboard Edition of 100 2018 Limited edition Silkscreen on maple wood skateboard deck. 31 × 8 × 1 in 78.7 × 20.3 × 2.5 cm Edition of 100 Comes with Certifica...

Richard Anuszkiewicz Soft Lime, 1976 8 Color silkscreen on Lenox 100% Cotton paper 38 × 48 inches Pencil signed and numbered 41/75 on the front; bears printers blind stamp from NYIT ...