Yoshitomo Nara

Sprouts in Hands

2013

A stunning example of abstracted imagery easily identifiable as the work of Roy Lichtenstein, Blue Face was created by the artist in 1989 as a truly mixed me...

Woodcut, collagraph and photo-engraving in colors, on Rives Lightweight Cream paper, with full margins. Hand signed, dated and numbered lower front by Jim Dine. From the edition of...

Color woodcut on 410 gsm somerset white paper. Hand signed lower right by Damien Hirst. Hand numbered 38/55 on verso. From the "40 Woodcut Spots" series published by Paragon Press...

Artist/Designer; Manufacturer: Roy Lichtenstein (American, 1923-1997) Marking(s); notes: signed, blind stamp, marking(s); PP 1/2 aside from the edition of 60; 1989 Materials: lithogr...

The Horizontal 'Spots' by Damien Hirst is a multi-color woodcut in his signature palette formed with series unique colors. This exquisite piece is created in a limited edition of onl...

Alex Katz (American, born 1927) Night (from Northern Landscapes), 1994 Medium: Woodcut in colors, on Japan paper Dimensions: 51 × 40.5 cm (20 1/10 × 15 9/10 in) Edition of 100: Hand-...

Artist: Roy Lichtenstein Title: American Indian Theme VI Medium: Woodcut on handmade Suzuki Paper Date: 1980 Edition: 24/50 Frame Size: 40" x 53" Sheet Size: 37 3/4" x 50 5/16" Image...

Face of a Woman, Figurative Abstract Pop Art Woodcut Portrait on Handmade Paper Bold pop art woodcut print on handmade paper of a woman's face in black and red, repeated in 4 vertical registers like a film strip, by Monterey Bay artist Paula Walzer...

Peter Saul Shicago Justus (Chicago Justice) from Conspiracy: The Artist as Witness, 1971 Lithograph on Arches paper Edition AP (Rare AP, aside from the regular edition of 150) Hand-s...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...