Prints and Multiples

Original Illustration based on photograph by Karen Bystedt. Signed by Shepard Fairey and Karen Bystedt. Comes with C.O.A. from New Union Gallery. "I’ve been a fan of Andy Warhol’s ...

Race to the Bottom Letterpress on 100% cotton archival paper with deckled edges. Signed and numbered edition of 450. 10 inches by 13 inches. OBEY publishing chop on bottom left corner. "When I was creating my Damaged art...

Artist: Marc Chagall, Russian (1887 - 1985) Title: Homecoming from XXe Siecle. Chagall Monumental Year: 1973 Medium: Lithograph Edition: 10,000 Size: 12.25 in. x 18.875 in. (31 cm x...

"World Water Day is Monday and is a fitting day to precede the release of these Wave of Distress prints. World Water Day not only focuses attention on the water crisis and drinking w...

Shepard Fairey Wave of Distress Offset lithograph on paper Year: 2022 Signed and dated by hand Size: 36 × 24 inches COA provided Frank Shepard Fairey (born February 15, 1970) is an ...

Shepard Fairey Green Power Factory (Red) (Energy Transition, Renewable Energy, Climate Change, Fossil Fuels) Screen print on thick cream Speckleto...

Artist: Chagall, Marc Title: Job In Despair Series: Bible Date: 1960 Medium: Lithograph Unframed Dimensions: 13.9" x 10.5" Framed Dimensions: 24" x 20.5" Signature: Unsigned ...

Marc CHAGALL Colorful Bouquet of Flowers Stone lithograph in colors (Mourlot workshop) Engraved by Sorlier under the supervision of Marc Chagall Printed signature in the plate On Arches vellum 38 x 28 cm (c. 15 x 11 in) INFORMATION : Edited for the portfolio Les Peintres mes amis (Les Heures Claires...

Shepard Fairey's "Mayday" - A Narrative of Distress and Hope Step into the vibrant world of contemporary art with Shepard Fairey's evocative masterpiece, "Mayday." Created in 2010, ...

Marc Chagall The Bay of Angels Artist: Marc Chagall Medium: Lithograph Title: The Bay of Angels Portfolio: 1960 Mourlot Lithographe I Year: 1960 Editio...

OBEY PRINTING PRESS Title: Letterpress Dimensions: 10 x 13 inches Edition: 450 Release Date: January 23, 2018 Experience the timeless artistry of "Obey Printing Press", a letterpre...

The “Welcome Visitor” diptych is a thought-provoking exploration of the contradictions inherent in America's tourism industry and its immigration policies. Through this striking artwork, Shepard Fairey delves into the uncomfortable collision of economic opportunism and xenophobia. The piece reflects on the historical context of America as a melting pot, symbolized by the Ellis Island narrative and the hope of embracing diversity. However, it also draws attention to the contemporary climate of fear and scapegoating faced by Latino and Muslim communities. The diptych specifically highlights past events like the immigration ban and internment of Japanese individuals, including Japanese-American citizens during World War II, when unfounded fear led to prejudiced policies against them. Shepard Fairey skillfully uses this historical reference to shed light on the irrational and disproportionate fear. By contrasting the past with the present, Fairey aims to inspire contemplation and empathy, urging viewers to consider the humanity and dignity of all people as a paramount factor in shaping immigration and tourism policies. Shepard Fairey is a renowned contemporary artist and graphic designer whose work often explores political and social themes. Born on February 15, 1970, in Charleston, South Carolina, Fairey gained widespread recognition for his iconic "Hope" poster created during Barack Obama's 2008 presidential campaign. His art has since become synonymous with activism and social commentary. Fairey's unique style combines elements of street art, pop culture, and political messaging, earning him a prominent place in the world of contemporary art. In addition to his prolific career as a visual artist, Shepard Fairey co-founded the design studio Studio Number One and the art collective BLK/MRKT Inc. He has exhibited his work in galleries and museums around the globe, leaving a lasting impact on the art world and beyond. Fairey's art continues to inspire dialogue and challenge societal norms, urging viewers to question and engage with the issues he addresses. Shepard Fairey's art is influenced by various sources, including street art, punk rock aesthetics, propaganda imagery, and political movements. He credits the DIY ethos of punk culture and the rebellious spirit of street art for shaping his artistic vision. Fairey's fascination with propaganda and political art from historical movements, such as Soviet Constructivism and Chinese Cultural Revolution...

Marc Chagall - Original Lithograph The Red Rider From the unsigned, unnumbered lithograph printed in the literary review XXe Siecle 1957 See Mourlot 191 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Shepard Fairey Desmond Tutu Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.: 924802-15...

This "Lifeguard Not On Duty" print was inspired by some old photos I saw of oil derricks down on the beach at Playa Del Rey and Long Beach. There are still oil drilling...

"Chagall At Pace/Columbus" by Marc Chagall Exhibition poster Color offset lithography Signed in the print Publisher: Pace Gallery, Columbus

Shepard Fairey Green Power Factory (Blue) (Energy Transition, Renewable Energy, Climate Change, Fossil Fuels) Screen print on thick cream Specklet...

Shepard Fairey Green Power Factory Set (Blue & Red) (Energy Transition, Renewable Energy, Climate Change, Fossil Fuels) Screen prints on thick cre...

Shepard Fairey Birdsong Project Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 450 Signed, dated and numbered by hand COA provided Ref.: 92480...

Shepard Fairey Cultivate Justice (Red) Screen print on thick cream Speckletone paper Year: 2021 Size: 24 x 18 inches Edition: 400 Signed, dated and numbered by hand COA provided Ref....

Hello My Name Is. 18 x 24 inches. Screenprint on cream Speckletone Paper. 18 x 24 inches. Signed by Shepard Fairey. Numbered edition of 550. From the Artist - "I have been looking ...

Artist: Marc Chagall Medium: Lithograph Title: Place de la Concorde Portfolio: Verve Vol VII No. 27-28 Year: 1953 Edition: 6000 Signed: No Framed ...

Artist: Marc Chagall Title: Lovers With Red Sun Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 20 1/2" x 17 1/2" Image Size: 9 1/2" x...

"A simple twist on the white peace dove with olive branch, but hey, good guys don't always wear white! The "rise above" is a call to take the high road with a nod to one of my favori...

Marc Chagall Maternite (Maternity), Ed. 17/300, 1954 color lithograph 24 x 31 in. image $ 29,000.00 USD Provenance: from a private collector in Naples, FL

Bad Reputation (Black) on Speckle Tone Paper. 18 x 24 inches. Signed by Shepard Fairey. Numbered edition of 350. My Obey “Bad Reputation” print is inspired by music graphics, especially punk and new wave album sleeves, t-shirts, and flyers. I love the Xerox machine with spot color approach to a lot of those graphics that married the rough and crude side of financial and artistic limitations with an intuitive and clever ability to craft subversive, eye-catching images. Some of the edges of this imagery and text are intentionally rough and imperfect… if slick and clean are your bag, you might want to skip this one baby! See if you can spot the references to musicians like the New York Dolls...

Shepard Fairey Muhammad Ali "Heavyweight Ideals" Shepard Fairey Screenprint Contemporary Art, 2023 Fine Art Thick Cream Speckletone Paper Silkscreen Print with Gold Metallic Inks 24 ...

Shepard Fairey Putin's Ashes Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches Edition: 450 Signed, dated and numbered by hand COA provided Ref.: 924802-1...

Visual Disobedience. 18 inches x 24 inches Screen Print on cream Speckle Tone paper. Signed by Shepard Fairey. Numbered edition of 400. Hong Kong, China museum show...

One of the many Iconic images by Shepard Fairey from the 2008 Campaign trail. This is a print that will stand the test of time in both artist and political forums. Edition Details: Year: 2008 Class...

TECHNICAL INFORMATION: Shepard Fairey Ali Canvas 2010 Screenprint 24 x 18 in. Edition of 450 Pencil signed and numbered; accompanied with COA by Gregg Shienbaum Fine Art Condition:...

Shepard Fairey Ian Curtis Heart and Soul Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches Edition: 500 Signed by Shepard Fairey and Kevin Cummins, dated ...

Shepard Fairey Diamond Flower Round Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 24 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.: 9...

Artist: Marc Chagall Medium: Lithograph Title: David and Bathsheba Portfolio: The Bible Lithographs Year: 1956 Signed: No Reference: Cramer 25 Mour...

Marc Chagall Le Peintre, from Songes (cf. C. books 112) etching with aquatint in colours, 1981, Signed low right Edition 31/50 Published by G. Cramer, Geneva, with wide margins Ima...

Marc CHAGALL Paris : Ceiling of Opera Garnier Original stone lithograph Not signed and not numbered On paper 32 x 25 cm (c. 13 x 10 inch) Edited by Sauret, 1962 REFERENCES : Catalo...

Shepard Fairey 'Compassion (His Holiness The Dalai Lama)', 2022 Screen print on cream, Speckletone fine art paper. 24 × 18 in 61 × 45.7 cm Edition of 500 Based on a photograph ta...

"RFK is a hero of mine for his positions on racial equality during the Civil Rights movement. His speech after Martin Luther King, Jr.’s assassination is one of the greatest speeches ever delivered. The opportunity to do this RFK mural at a high school that focuses on art and social justice is great for many reasons, especially because it demonstrates to the kids the power of large-scale artwork." -Shepard Fairey...

Artist: Marc Chagall, Russian/French (1887 - 1985) Title: Untitled from Derriere Le Miroir (cover) Year: 1972 Medium: Lithograph, signed in the plate Image Size: 14.25 x 10.5 in. (36...

Shepard Fairey The Lonesome Crowded West Tower Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 825 Signed, dated and numbered by hand COA provi...

Shepard Fairey - Obey Giant - Wave of Distress : Blue Ed. "World Water Day is Monday and is a fitting day to precede the release of these Wave of Distress prints. World Water Day no...

Shepard Fairey Alice Bag Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.: 924802-15889...

Shepard Fairey The Lonesome Crowded West Apt Block Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 825 Signed, dated and numbered by hand COA p...

Edition Details: Year: 2021 Class: Art Print Status: Official Numbered Run: 73/150 Technique: Screen Print Paper: Thick Cream Speckletone Size: 24 X 18 Markings: Numbered "Shepard F...

Artist: Marc Chagall Medium: Original lithograph Title: Frontispiece from the Jerusalem Windows series Year: 1962 Edition: Unnumbered Framed Size: 20...

My work primarily revolves around concepts of and aspirations for justice. Whether it be environmental justice, racial justice, economic justice, gender equality, etc., the themes in my art often address injustices in a number of areas. Justice is a subjective, and in some ways, an abstract concept, but I think we all know in our conscience when something is wrong, unfair, immoral, or unjust. I witness convoluted logic every day from people attempting to defend (or ironically justify) injustice. These “Cultivate Justice” prints...

Marc Chagall -- Joshua Before Jericho (Josue Devant Jericho) Pl 46, From: Bible, 1958 Hand coloured etching Edition 25/100, singed low right Ima...

Shepard Fairey God Save the Queen, 2012 Screenprint on wood panel in artist's frame Hand-signed by artist, Signed twice: Pencil signed, dated and annotated AP on the front; also penc...

Original Photo by Ruven Afanador. "Ruth Bader Ginsburg is a hero of mine because she was a low-key radical. She encountered gender discrimination in her personal life which she over...

Shepard Fairey Only The Finest Poison Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.:...

Shepard Fairey New Clear Power Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 350 Signed, dated and numbered by hand COA provided Ref.: 924802...

Shepard Fairey Eyes On The King Verdict Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 600 Signed, dated and numbered by hand COA provided Ref...

Marc Chagall Title: SACRIFICES MADE TO THE NYMPHS from Daphnis and Chloe Original Lithograph on Arches wove paper Printed by Mourlot, published by Tériade, Paris Edition ...

Le Clown Blanc (The White Clown) Lithograph, 1964 Unsigned (as issued by DLM) From: Derriere le Miroir Chagall: Dessins et Lavis, Exposition...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Shepard Fairey WK Shepard Portrait Screen print on French Speckletone True White Year: 2023 Size: 24 x 36 inches Edition: 450 Signed by WK and Shepard Fairey, dated and numbered by h...

Manufacturer: Obey Giant Edition Details: Year: 2023 Class: Art Print Status: Official Run: 550 Technique: Screen Print Paper: Thick Cream Speckletone Size: 36 X 24 Markings: Signed...

La Baie, Double Page du No 132 de Derriere le Miroir Color lithograph, 1962 Unsigned as issued in DLM From: "Derriere le Miroir" (Behind the Miroir) No. 132 P...