Contemporary Abstract Prints

Ed Paschke BAD, 1991 Silkscreen and Lithograph on Rising Mirage Paper, accompanied by documentation Pencil signed, titled "BAD", and annotated "Trial Proof" on the front 22 × 20 inches Unframed This work is a unique Trial Proof on Rising Mirage Paper, pencil signed by the artist and annotated "Trial Proof" the very first impression, aside from the regular edition. It is accompanied by the tirage sheet, with the biography of the artist and a description of the work. (see photos). As such it is a rare impression. Published by Chicago Serigraphic Workshop and Artco, Incorporated Ed Paschke Biography: Ed Paschke was born in Chicago where he spent most of his life as an important painter. He was initially associated in the late 1960s with the second generation of Chicago Imagists who called themselves The Hairy Who. He received his B.F.A. from the School of The Art Institute of Chicago in 1961 and his M.F.A. in 1970. Between degrees he lived for a time in New York where he easily came under the influence of Pop art, in part, because of his interests as a child in animation and cartoons. His fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications. Although his style is representational, with a loose affiliation to Photorealism, Paschke’s art plays...

Print-multiple (Lithograph) artwork by the neoexpressionist artist Fred Bugs. N.31/50. 

Ed Ruscha EE-NUF! (hand signed by Ed Ruscha), 2020 Color lithographic poster on wove paper (hand signed by Ed Ruscha) Boldly signed by Ed Ruscha in black marker on the front 32 1/4 ×...

SCROLLS by the Israeli artist Moshe Castel (1909-1991) is a limited edition lithograph printed using traditional hand lithography techniques on archival Somerset paper 100% acid free. SCROLLS is a dramatic abstract collage, its vertical arrangement depicting a grouping of yellow and gold beige papyrus scroll fragments against a textured background of rich vibrant red and black. Ancient alphabet symbols written on the parchment are visible resembling Aramaic letters which create a mystical quality evoking the biblical history of the Dead Sea Scrolls. Aramaic was once the main language of the Jews and appears in some of the Dead Sea Scrolls. It is closely related to Hebrew with the script being very similar. In SCROLLS, Moshe Castel creates a very aesthetically appealing and captivating contemporary arrangement of ancient Jewish symbolism. Print size - 29.75 x 21.5 in. unframed, excellent condition, vivid colors, pencil signed by Moshe Castel Edition size - 150, plus proofs Year published - 1981 Printer - JK Fine Art Editions Co., NY Moshe Elazar Castel born in Jerusalem, Ottoman Palestine, in 1909, to Rabbi Yehuda Castel and his wife Rachel. The family was descended from Spanish Jews from Castile who immigrated to the Holy Land after the expulsion of the Jews from Spain in 1492. Castel attended his father’s school until the age of 13. He went on to study at the Bezalel Art School in Jerusalem, where he was encouraged by his teacher to study in Paris furthering his art education at the Academie Julian and Ecole de Louvre in Paris. He was greatly influenced by European masters Rembrandt, Velasquez, Delacroix and Courbert after spending his days copying their works hanging in the Louvre. Castel returned to Palestine at the onset of WWII. The subject of Castel’s early paintings were scenes of Sephardic Jews in the Holy Land. In 1947, Castel helped to found the "New Horizons" (Ofakim Hadashim) group together with Yosef Zaritsky, Yehezkel Streichman...

Lithograph on cardboard with artist's stamp and signature, 32x46cm, work numbered 32/100. Realized by the artist Fred Bugs Artist biography: Fred Bugs is the pseudonym of abstract...

This piece titled "the wind telling stories" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece ...

Damien Hirst Pegwell Bay, H13-6, from Where the Land Meets the Sea, 2023 Laminated Giclée print on aluminium composite panel 35 2/5 × 35 2/5 in 89.9 × 89.9 cm Hand-signed on the lab...

Artwork (Lithography) by Italian abstract artist Fred Bugs,  N.84/100 signed , stamped 

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

FRANK STELLA (1936-Present) Lithograph in black on J. Barcham Green wove paper, conceived in 1967, from the portfolio of 9 lithographs 'Black Series I'. Signed, dated and numbered 7...

Motif (Abstract) in orange, blue and gold abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

Tracey Emin Beirut, 2006 Offset Lithograph printed in black 16 × 23 inches Edition 99/100 Pencil signed, dated and numbered on the front. Accompanied by a special card from Tracey Em...

Authentic lithography by neo-expressionist artist Fred Bugs.  Signed and stamped. 41 of 50.  Excellent condition.

John Chamberlain (Hand Signed), 1988 Offset Lithograph Poster (Hand Signed by John Chamberlain) 30 × 20 inches Boldly signed on the recto in white grease marker by the artist in his ...

Susan Collet's monoprints are inspired by the colours, textures and shapes found in nature. A gifted ceramicist, Collett originally took printmaking at Central Tech High School in To...

Get Clay On canvas, Signed Lower Right and Numbered 51/120 in Lower Left. Pedro Friedeberg, Mexican (Born. 1936).Silkscreen "Gatos". Unframed. Signed Lower Right and Numbered 51/12...

Motif (Abstract) in orange and blue abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

"Verse" Art print 29" x 36" inch Edition of 25 by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Picture size: Height: 29" inch Width: 36" inch *...

Donald Sultan Serious Fun! at Lincoln Center (Hand Signed, dated and inscribed by Donald Sultan), 1993 Lithographic Poster on heavy wove paper. (hand signed, dated & inscribed) 36 × 24 1/4 in 91.4 × 61.6 cm Signed, dated 2016 and inscribed on lower right front. Inscription reads as follows: For Kevin New York 2016 Published by Vera List Program, Lincoln Center This large, striking limited edition lithographic poster on heavy wove (lithographic) paper was printed in 1993 by the Vera List print program to raise funds for Lincoln Center. The edition is typically unsigned; however, this work is, exceptionally, boldly signed and inscribed in black marker by Donald Sultan in 2016 for the present owner. The inscription reads as follows: For Kevin New York 2016 Donald Sultan signed...

Neoexpressionism/abstract pop art Artist: Fred Bugs Numerated Lithograph: 74/100 Euthentic artwork-print signed, with stamp

For Gene Swenson by James Rosenquist, American (1933–2017) Date: 1978 Etching/Aquatint with Embossing on Pescia Italia Edition of 37/78 Size: 23 x 40 in. (58.42 x 101.6 cm) Frame Siz...

This piece titled "transfigured from longing" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece...

This piece titled "fortress of inseparability" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piec...

Hand signed, numbered and dated '88 in pencil on recto in the lower right margin. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Wo...

This piece titled "who's there?" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measures 30"...

Atom mit Lampen III is a contemporary artwork realized by the artist Fifo Stricker in 1985. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower ri...

This piece titled "an ancient conversation" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece m...

JEWISH SYMBOLS is an original hand drawn, limited edition lithograph by Marius Sznajderman (Born-Paris, France 1926-2018) printed in colors on white archival printmaking paper, 100% acid-free, using traditional hand lithography printmaking methods. JEWISH SYMBOLS is an expressive modern abstract color still life composition depicting symbols from the Jewish faith including a menorah, roosters, Magen David(star), Aron Kodesh...

Christopher Wool The Show is Over, 2000 Offset Lithograph poster 36 × 24 inches Limited Edition of approx 100 (unnumbered) Unframed This collectible...

This piece titled "held like a dream" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measure...

This piece titled "when darkness yields" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece meas...

Christo (American-Bulgarian, b. 1935) Iron Curtain – Wall of Barrels, Rue Visconti Paris, June 1962, 1968 Medium: Color offset on cardboard Dimensions: 70 x 54 cm Edition of 100: Han...

This piece titled "said the zinnia" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This diptych piece m...

Authentic lithography on cardboard with artist's stamp and signature, 32x46cm, work numbered 82/100 from Save Me Series. Realized by the artist Fred Bugs Artist biography: Fred Bu...

Untitled is an artwork realized by Hans Graeder (Mannheim,1919 - Mannheim,1998) in 1969. Lithograph, signed and dated on plate. Good condition. Hans Graeder (Mannheim,1919 - Mannheim,1998) was a painter, graphic artist and sculptor. As a trained lithographer...

Carborundum Etching, artist signed edition 10/30, 60"hx40"w (with or with out the frame). Pierre Marie Brisson French b. 1955 - one of the most talented contemporary artists. Bris...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 81.25 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an ...

Vintage Exhibition Poster is a Offset print realized for the exhibition of Marco Tirelli in 2006. Good condition, no signature. The exhibition was held in Galerie de Meo in Paris i...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 70 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an MFA...

Ed Ruscha (American, born 1937) Note, 2018 Medium: Screenprint on sandpaper, on cardboard Dimensions: 23 x 28 cm (9 x 11 in) Edition of 85: Hand-signed, dated and numbered Condition:...

John Shrehane is from England originally but spent many years working in Italy. His practice brings together an energy and elegance that is unique. John says, “I like to express emot...

John Baldessari (American, 1931-2020) Belch (from the Engraving with Sounds series), 2015 Medium: Archival inkjet print on paper Dimensions: 36.8 x 30.5 cm Edition of 25: Monogrammed...

Opus II is a  contemporary artwork realized by Fernandez Arman in 1973 Mixed colored Screen Print. The artwork is from the suite "Suite for Violin".

From Christian Stoll's body of works BURST (2015), an abstract exploration of high speed photographs capturing mesmerizing explosions of caleidoscopic color 48 x 72 inches (122 x 18...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 84 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an MFA...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 51 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in Ne...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 81.25 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an ...

"Art is very important to me. Art has the power to move us. It can free us from the worries of daily life. It can make us marvel and give us the opportunity to get in deeper contact ...

Laure Prouvost (French, b. 1978) This Print Wishes to Be On the Other Side of This Wall, 2016 Medium: Etching on wove paper Dimensions: 60 x 45...

Virgil Abloh (American, 1980-2021) Life Itself, 2022 Medium: Porcelain plate (fine bone china) Dimensions: 10 1/2 in diameter 26.7 cm diameter Edition of 250: Printed signature and ...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 49.5 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in ...

Jonathan Borofsky 2779494: The Olympic Runner Los Angeles 1984 Olympic Games (Hand Signed with Olympic Committee COA), 1982 Offset Lithograph on Parson'...

Perspective is an artwork realized by Bruno Conte (1939-2021) in 1980. Good condition. Signed and numbered in roman number X/XXV.

Poetics Country, a collaborative work by Mike Kelley and Tony Oursler, was published on the occasion of Documenta X in 1997. Mike Kelley (1954-2012) and Tony Oursler (b. 1957) Poeti...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 81.25 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an ...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 75.5 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in New York, USA. He received an M...

Giclée Print on Hahnemühle Paper, Framed 63.5 x 78.75 x 4 cm Edition of 10 Maxwell Stevens is an American artist born in 1971 who lives and works in...

Tracey Emin It's A CRIME to Live with The Person You don't LOVE, 2121 Giclée print on Hahnemühle FineArt Pearl 285gsm paper, accompanied by official COA with hologram 16 1/2 × 11 2/5...