Screen Photography

Gold Marilyn Monroe by David Studwell is a hand pulled silk screen print of actress Marilyn Monroe. Printed using gold metallic ink and a line effect. Edition of 30 prints. 46.5x56cm...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

Genre: Photographic Subject: Cityscape Medium: Silkscreen of Photograph Surface: Paper Country: United States Dimensions: 21.5" x 28" Street Art, Urban Jon Naar is a British-Americ...

This piece is sold with a custom wood copper finish box frame, perfect for a contemporary setting. This gorgeous artwork on paper was created initially with a screen print base of the model, then Rosie hand finishes the work with a unique splash and painted composition. Some call them Unique Prints. The base image is only used 9 times Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s screen...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

In the mid 1990s Richard Klein started working with found glass objects, including bottles, drinking glasses, ashtrays, and eyeglasses. Initially, Klein rejected any object with commercial or advertising content, but in 2015 he became fascinated with the promotional content that was screen printed on ashtrays from the 1950s, 1960s and early 1970s. This period was before smoking was looked at as being primarily a negative habit, and iconic American businesses, including Howard Johnson’s, International House of Pancakes (iHop) and Holiday Inn, all produced promotional ashtrays printed with their graphic identity. By the time Klein became interested in these objects, the businesses had either ceased to exist, or had changed their logos, and many of their signature buildings, which where examples of classic, “Pop” roadside architecture, has been torn down or repurposed. The artist wanted to connect the glass objects with the business’s sites that were still recognizable and spoke of their history, so he began researching where original buildings still stood. Klein then embarked on a series of road trips to photograph these sites with the intention of combining the photographs with the promotional glass objects. This led him to as far south as Maryland and as far north as upstate New York from his home in Connecticut. In the case of Holiday Inn, it wasn’t their buildings, but their iconic illuminated sign that appeared on ashtrays, so he sought out a standing example of the sign he could photograph. As it turned out all had been removed years before from the hotels' properties and the only working example was indoors at the Henry Ford Museum in Dearborn, Michigan. He did, however, find out that there was one still standing, surprisingly, in Beruit, Lebanon. He found an image of it on the web and used it to make Holiday Inn (Beruit). In 1973 Holiday Inn changed their tagline from “The Nations Innkeeper” to “The World’s Innkeeper” as they expanded overseas, including the Mideast. For the hotel chain it was bad timing: the disastrous Lebanese civil war began in 1975. In the war, the different Lebanese militias involved in the conflict, including the Nasserites, Christian Phalangists, and the Lebanese National Movement engaged in what came to be called “The Battle of the Hotels” where they each occupied a major high-rise hotel in central Beruit. The Phalangists commanded the Holiday Inn, which they used to fire with both light arms and heavier weapons at the militias in neighboring hotels. Klein used the photo of the heavily damaged Holiday Inn sign as I thought it spoke in a curious, offhanded way about American cultural imperialism in juxtaposition with an ashtray that proclaimed Holiday Inn to be “The World’s Innkeeper.” In the work Holiday Inn (Nocturne) the artist utilized a found, 35mm slide of a Holiday Inn sign at night at an unknown location as the basis of the photograph in the work. Richard Klein is a Connecticut-based artist, independent curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA; James Barron Art, Kent, CT; The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA; Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; Incident Report/Flow Chart Foundation, Hudson, NY; ICEHOUSE Project Space, Sharon, CT; Kenise Barnes Fine Art in Kent, CT and with ODETTA Gallery at the Equity Gallery in New York City.. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker. In the summer of 2024 he will be the first Artist-In-Residence at Peck Ledge Light...

Very last of the "Falcon" edition available! Emerson has pioneered a technique of printing with delicate charcoal powders, which give the image a softne...

Rosie Emerson returns to her elongated trademark style for the release of a brand new Audrey Hepburn print. Emerson has developed her very own technique to make these to prints using charcoal powder instead of ink, these print have a soft look and light texture to them, the powder is fixed with layers of fixative and also a UV varnish so they are protected for the years to come. Elevating the iconic Audrey Hepburn these prints unite hand painted elements, collaged found wire, diamonds and star constellations all in her monochrome style. A small edition of just 20, each print will vary slightly due to her unique technique, they come signed and edition in pencil and embossed with an artists stamp. Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s work is widely collected and exhibited both in the UK as well as internationally, through galleries, art fairs and museums. She has also worked with brands and individuals including Harvey Nichols, The Ivy Club, Sony, Triumph Underwear, Redbull, P&O Cruises, and Annoushka jewelry...

Miles Aldridge (Colour Photography) Signed and numbered in pencil on reverse Screenprint in colours with silver ink 34 ¼ × 59 inches Edition of 15 + 3 APs Miles Aldridge’s singular ...

Artist statement Scent of Broqpa Broqpa is the name of a small village in Nepal. Ziesook first learned of it from a TV documentary, The Last Empire. Ziesook was moved by what she le...

Hand painted screen print with diamond dust on 410 gsm Saunders Waterford Paper 15 x 15 inches / 38 x 38 cm Edition of 16 + 2AP's As the prints are hand-painted they are all vary slightly. Price is for unframed, we are happy to coordinate framing for this piece at an extra cost. Produced in 2021 these latest celestial prints really sparkle when the light hits them! Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s work is widely collected and exhibited both in the UK as well as internationally, through galleries, art fairs and museums. She has also worked with brands and individuals including Harvey Nichols, The Ivy Club, Sony, Triumph Underwear, Redbull, P&O Cruises, and Annoushka jewelry...

Robert Indiana ERR 1963: A rare, sought-after early Robert Indiana print defined by surreal, experimental cinematic-like energy. Hand-signed by Indiana on the lower right. Medium: Photoengraving and etching on Rives BFK. Dimensions: 4 1/2x6 inches (including margins). Very good overall vintage condition. Signed, dated and inscribed "Artist's Proof 'E'" and "CHI" in pencil, lower margin. Rare Trial proof, aside from the main edition of 60. Printed by the artist at the School of the Art Institute of Chicago. Further background: According to Susan Sheehan, Indiana printed only six progressive trial proofs at the School of the Art Institute of Chicago, where he learned printmaking from 1949 to 1952, under the supervision of Vera Berdich (inscribed "CHI"). Additionally 13 trial proofs were printed at the Pratt Graphic Art Center, New York (these inscribed "NYC"). The regular edition was printed by Atelier Georges Lablanc, Paris and published by Galleria Schwarz, Milan to be included in International Anthology of Contemporary Engraving: The International Avant-Garde: America Discovered, Volume 5. The plate used for this print was originally given to the School of the Art Institute of Chicago by the R.R. Donnelly Company, printers of Life magazine. Indiana discovered the plate while visiting Berdich at the school and decided to use it in his contribution to the Avant-garde portfolio. Sheehan 29. Robert Indiana 1991: "When I went back to the Art Institute of Chicago at that particular time - I think I was judging a show - I learned that Vera Berdich (Indiana's former teacher) was still there and the idea occurred to me, wouldn't it be fun to do a visiting artist etching, and she concurred. There on the floor was a box of copper plates and the images had been defaced on each one. These copper plates had been donated by the R.R. Donnelly Company, which put out Life magazine. I used to work for Donnelly. My only commercial art job was with them doing the little drawing that appear in the Yellow Pages, like lawnmowers and vacuum cleaners and things like that. Anyway, the idea being that the student was supposed to turn the plate over to use the back side and forget about the image on the front. But I found this image of this actress sitting on her bed with her ironing board and decided it was only very lightly defaced, so I asked if I could use it. And the word "Err" was actually added in New York; it was not in the first proofs in Chicago. Two weeks later, I was thumbing through LIFE magazine and there was this actress in the same page..." About the artist: Robert Indiana is best known for his iconic “LOVE” image, which has appeared across media including sculptures, prints, and paintings and epitomizes the artist’s graphic, predominantly text-based Pop art practice. Throughout his career, Indiana reimagined the aesthetics of American advertisements...

Bathers #1, 2015 - Miles Aldridge (Colour Photography) Signed and numbered in ink verso Screenprint with lithography in colours 34 ¼ × 26 ¼ inches Edition of 25 Miles Aldridge’s si...

Signed and numbered on label, verso (1/3) Strontium aluminate print, painted museum box This work is offered by ClampArt in New York City.

Signed and numbered on label, verso (1/3) Strontium aluminate print, painted museum box This work is offered by ClampArt in New York City.

Signed and numbered on label, verso (1/3) Strontium aluminate print, painted museum box This work is offered by ClampArt in New York City.

Signed and numbered on label, verso (1/3) 2-color screenprint, painted museum box This work is offered by ClampArt in New York City.

Signed and numbered on label, verso Stontium aluminate print, painted museum box This work is offered by ClampArt in New York City.

Signed and numbered on label, verso (1/3) Strontium aluminate print, painted museum box This work is offered by ClampArt in New York City.

Lightness of Being Crystal Edition Limited Edition Silkscreen Print of 100 with hand applied Swarovski Crystals Paper size: 20.75 x 16.5 inches Fra...

Linus BILL (*1982, Switzerland) Untitled, from Too Cool For School, 2008 Silkscreen Print on Paper Image 90 x 60 cm (35 3/8 x 23 5/8 in.) Sheet 100 x 70 cm (39 3/8 x 27 1/2 in.) Fr...

Linus BILL (*1982, Switzerland) Topmodern, 2010 Silkscreen and Acrylic on Paper 188,6 x 125,5 cm (74 1/4 x 49 3/8 in.) Edition of 3 (#1/3) signed by the artist Born in 1982 in Switz...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Velázquez) 2021 Screenprint in colours with silver ink Image 150 x 99 cm (59 x 39 in.) Sheet 162 x 111 cm (63 3/4 x 43 3...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Cabanel) 2021 Screenprint in colours with silver ink Image 150 x 99 cm (59 x 39 in.) Sheet 162 x 111 cm (63 3/4 x 43 3/4 ...

Miles ALDRIDGE (*1964, Great Britain) New Utopias #4, 2018 Screenprint in colours with silver ink printed on 410gsm Somerset Paper 111 x 98 cm (43 3/4 x 38...

Miles ALDRIDGE (*1964, Great Britain) New Utopias #3, 2018 Screenprint in colours with silver ink printed on 410gsm Somerset Paper Sheet 87 x 150 cm (34 1/...

Ting Shao Kuang (1939, Chengdu, China) "Golden Age of India" From the limited edition serigraph. Signed by the artist on the lower right cor...

Serigrafie e foto. L'opera è composta da tre cartoni serigrafati (in scatola di cartone) con il testo in inglese (titolo in originale "We have created atypical systems") e da sei ...

Multilayer screen print by the photographer Janette Beckman. Limited Edition of 24. Signed on bottom right.

Muntadas 6 Mai 1994, 1994 Photo silkscreen 33 x 13 1/2 inches (image) 43 3/16 x 31 1/8 inches (frame) Edition 37 of 75 Signed

Alexandre Ponomarev Maya-L'île Perdue, 2007 Silkscreen Print Edition of 200 56,5 x 75,6 cm (22.2 x 29.7 in), unframed In mint condition Signed, titled, dated and numbered Accompanied...

MILES ALDRIDGE (*1964, Great Britain) Doors #3, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Miles ALDRIDGE (*1964, Great Britain) Bang!Bang! #1, 2008 Screenprint in colours printed on 410gsm Somerset Paper Image 152.5 x 117.5 cm (60 x 46 1/4 in.) Sheet 164.5 x 129.5 cm (64 ...

MILES ALDRIDGE (*1964, Great Britain) Doors #2, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

MILES ALDRIDGE (*1964, Great Britain) Doors #1, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Miles ALDRIDGE (*1964, Great Britain) New Utopias #2, 2018 Screenprint in colours with silver ink printed on 410gsm Somerset Paper Sheet 111 x 98 cm (43 3...

Richard Meier Bagan, 2011 Silkscreen collage with hand-coloring and photography sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard Meie...

Miles ALDRIDGE (*1964, Great Britain) Hello, 2020 Screenprint in colours Sheet 73.5 x 95 cm (28 ¾ × 37 1/2 in.) Edition of 15, plus 3 AP; Ed. no 4/15 Print only A fiercely original ...

MILES ALDRIDGE (*1964, Great Britain) Venus Etcetera (after Botticelli) 2021 Screenprint in colours with silver ink Image 109 × 150 cm (42 3/4 × 59 in.) Sheet 121 × 162 cm (47 3/4 ×...

Miles ALDRIDGE (*1964, Great Britain) I Will Love You Tomorrow, 2020 Screenprint in colours Sheet 73.5 x 95 cm (28 ¾ × 37 1/2 ) Edition of 15, plus 3 AP; Ed. no. 9/15 Print only A f...

Doors #5, 2023 - Miles Aldridge (Colour Photography) Signed and numbered on reverse Screenprint in colours 39 ¼ × 28 ¾ inches From an edition of 15 + 3 AP Miles Aldridge’s singular ...

Doors #3, 2023 - Miles Aldridge (Colour Photography) Signed and numbered on reverse Screenprint in colours 39 ¼ × 28 ¾ inches From an edition of 15 + 3 AP Miles Aldridge’s singular ...

Better Than Life (After Miller), 2017 - Miles Aldridge (Colour Photography) Signed and numbered in pencil verso Screenprint in colours 29 1/2 x 40 1/2 inches Edition of 15 + 3 AP Miles Aldridge (born 1964) is one of Britain’s most celebrated fashion photographers, who has worked for a number of international publications, including American and Italian Vogue, The New Yorker and The New York Times. Stark studio...

MILES ALDRIDGE (*1964, Great Britain) Doors #5, 2023 Screenprint in colours Sheet 73 x 100 cm (28 3/4 x 39 3/8 in.) Edition of 15, plus 3 AP; Ed. no. 1/15 Print only A fiercely or...

Doors #4, 2023 - Miles Aldridge (Colour Photography) Signed and numbered on reverse Screenprint in colours 39 ¼ × 28 ¾ inches From an edition of 15 + 3 AP Miles Aldridge’s singular ...

Doors #1, 2023 - Miles Aldridge (Colour Photography) Signed and numbered on reverse Screenprint in colours 39 ¼ × 28 ¾ inches From an edition of 15 + 3 AP Miles Aldridge’s singular ...

Doors #2, 2023 - Miles Aldridge (Colour Photography) Signed and numbered on reverse Screenprint in colours 39 ¼ × 28 ¾ inches From an edition of 15 + 3 AP Miles Aldridge’s singular ...

Ex Libris, 2019 - Miles Aldridge (Colour Photography) Signed and numbered in pencil in the margin Screenprint in colours 46 x 36 1/4 inches Edition of 15 + 3 AP Miles Aldridge (born 1964) is one of Britain’s most celebrated fashion photographers, who has worked for a number of international publications, including American and Italian Vogue, The New Yorker and The New York Times. Stark studio...

NICK KNIGHT (*1958, Great Britain) Gold Kate, British Vogue, 2000 Screen print on foil Sheet 101.6 x 76.2 cm (40 x 30 in.) Edition of 3; Ed. no. 2/3 (last edition available) Print only Nick Knight is among the world’s most influential and visionary photographers. He has worked on a range of often controversial issues during his career – from racism, disability, ageism, and more recently fat-ism. He continually challenges conventional ideals of beauty. Knight made fashion history in November 1993 by adapting ring-flash photography to capture Linda Evangelista for a landmark, post-grunge cover of British Vogue. Since then, his work has graced no fewer than 36 covers. He has shot advertising campaigns for Jil Sander, Louis Vuitton, Calvin Klein, Yves Saint Laurent, Vivienne Westwood, Alexander McQueen and Christian Dior to name a few. He has also shot record covers for David Bowie, Paul Weller, George Michael and Massive Attack. Knight’s work has been exhibited at institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers’ Gallery, the Hayward Gallery and recently the Tate Modern. Knight has also turned his hand to directing music videos - Pagean Poetry by Björk in 2001 being his first and, most recently, Kanye West’s Bound 2. He directed the video for Lady Gaga’s hit single Born This Way in 2011. Both the song and the video aimed to empower and show solidarity within minority groups, a common theme in Knight’s work. The work is one of a recently published series of prints that took 10 years to produce due to the long development process they triggered. Inspired by 16th century...

Huang Yan Self Portrait, 2008 39 X 30.75 inches Mixed media Ed, 200