Prints and Multiples

Saint Apollonia - Portfolio of four screen-prints 1984, each signed Andy Warhol Numbered 248/250. 4 colored screen-prints on Essex offset kid finish paper, 76.2 x 55.9 cm, Printed...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

Andy Warhol Marilyn Monroe (Marilyn), 1967 is from the highly sought after series. Set against a background of hot pink, this pop art portrait is feminine and iconic. The image is ba...

Andy Warhol was the most prolific of all pop artists and used repeat motifs of elements of pop culture regularly in his work. This screenprint, signed and dated in ballpoint pen and numbered with a rubber stamp...

TECHNICAL INFORMATION: Andy Warhol Dollar Sign, FS II.277 1982 Screenprint on Lenox Museum Board 19 3/4 x 15 5/8 in. 48/60 - Each Piece is Unique Pencil signed and numbered Conditi...

TECHNICAL INFORMATION: Andy Warhol Campbell's Soup I, Chicken Noodle 1968 Screenprint 35 x 23 in. Edition of 250 Signed and stamped number on verso, si...

Created by Andy Warhol in 1986, Plains Indian Shield was one of ten screenprints that comprised the Cowboys and Indians portfolio. Measuring 36 x...

This Warhol work consists of a white background with a Campbell's Chicken Noodle Soup can of red and white with the word "soup" in gold. This pop a...

Screenprint with diamond dust, 1980, on Arches Aquarelle (Cold Pressed) paper, signed and numbered in pencil, verso, from the edition of 60 (there were also 10 artist’s proofs), printed by Rupert Jason Smith...

Signed by both Andy Warhol and Mick Jagger and from the edition of 250 measuring 43 ½ x 29 in. (111 x 73.5 cm), unframed, Andy Warhol’s, Mick Jagger #147 was created by the artist in 1975 as a color screenprint, published by Seabird Editions. It is designated in the artist’s catalogue raisonne as FS. II. 147. Available for local pick up from Michael Lisi...

An indelible part of American culture in the 1950’s and incorporated into The Myth’s suite of ten individual screenprints, Andy Warhol’s, Howdy Doody was c...

Commissioned by the World Federation of United Nations Association (WFUNA) in 1979, Andy Warhol created UN Stamp to promote the ideals and goals of the United Nations. This color l...

TECHNICAL INFORMATION: Andy Warhol Mick Jagger FS 11.140 1975 Screenprint on Arches Aquarelle Paper 43 1/2 x 29 in. Edition of 250 Pencil signed and numbered by Warhol. Signed in bl...

TECHNICAL INFORMATION: Andy Warhol Brooklyn Bridge, FS 11.290 1983 Screenprint on Lenox Museum Board 39 1/4 x 39 1/4 in. Edition of 200 Pencil signed & numbered Accompanied with CO...

TECHNICAL INFORMATION: Andy Warhol Pete Rose Trial Proof 1985 Screenprint on Lenox Museum Board 39 3/8 x 31 1/2 in. Trial Proof Edition of 30 Pencil signed ...

Litho-offset on pale green tissue paper

1964 Offset lithograph in colors, on wove paper Sheet: 23 x 23 inches Edition of 300 Signed and dated in black ink, lower right Unframed, pristine condition

TECHNICAL INFORMATION: Andy Warhol Geronimo, from Cowboys and Indians 1986 Screenprint on Lenox Museum Board 36 x 36 in. Edition of 250 Pencil Sig...

1964 Offset lithograph in colors, on wove paper Sheet: 23 1/8 x 23 1/8 in. Edition of 300 Signed and dated in ballpoint pen, lower right Unframed, pristine condition

1964 Offset lithograph in colors, on wove paper Sheet: 23 x 23 in. Edition of 300 Signed and dated in pencil, lower margin

1972 Screenprint on Beckett High White paper Image/sheet: 36 x 36 in. (91.4 x 91.4 cm) Edition of 250 Signed and numbered on verso

Edition of 300 Signed and dated in ball-point pen

Edition of 250 Signed in pencil and numbered with a rubber stamp on verso Authenticated by Warhol Foundation with stamp and number verso

Edition of 190 From "Ads" series Signed and numbered in pencil

Screenprint on Lenox Museum Board Edition of 40 Signed and numbered in pencil

Screenprint on Lenox Museum Board Edition of 200 From the "Myths" series Signed and numbered in pencil All regular edition prints have diamond dust

Andy Warhol’s iconic depiction of the Brooklyn Bridge connecting Brooklyn and Manhattan is a dual image of the landmark reversed and rendered in complementary colors. The work is pre...

ROBERT COTTINGHAM HI FI, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Art, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

ROBERT COTTINGHAM Blues, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM M, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and n...

ROBERT COTTINGHAM NIte, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' an...

ROBERT COTTINGHAM Rialto, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' ...

ROBERT COTTINGHAM Drinks, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009...

ROBERT COTTINGHAM Champagne, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2...

ROBERT COTTINGHAM Fox, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Hi, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' an...

ROBERT COTTINGHAM Hot, from American Signs Portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

Created by Andy Warhol in 1966 to coincide with an early exhibition of the artist’s work at the Institute of Contemporary Art in Boston, Campbell’s Soup Can...

Medium: Hand colored offset lithograph Frame size: 16 x 15 inches Stamped on verso by The Estate of Andy Warhol and The Warhol Foundation

Andy Warhol Flowers (FS II.70), 1970 silkscreen on paper 36 x 36" ed. of 250 signed in ball point pen and numbered with a rubber stamp on verso

Mao #95, 1972 screenprint 36 x 36 inches Edition 139 of 250 signed in ball-point pen on verso,stamp-numbered 139/250 published by Castelli Graphicis with artist's copyright sta...