Oversized Prints and Multiples

ANONYMOUS (20th century) Café Collas, Pearls of the Indies, 1927 Original lithograph poster (La Semeuse workshop) On paper, 113 x 74 cm (c. 45 x 30 in) INFORMATION: Beautiful vinta...

Color aquatint.

"Paris" is an original lithograph poster by Paul Colin. This was the first official poster from Paris after World War II and depicts three doves flying above the Arc de Triomphe, Not...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Underwater nude shot from above a small cenote in Tulum, Mexico. Other size prints, framing options and print methods (such as fine art paper or face mounted plexiglass) available up...

Île de la Cité is a serigraph on paper with an image size of 30 x 36 inches, signed ‘Kondakova’ lower right and numbered lower left. From the edition of 325 and numbered 48/75 (there...

Betsy, [Girl in Cowboy Boots and Hat]. Color lithograph. On Linen. Excellent composer Pascal Bastia is also a talented writer who wrote most of the lyrics and librettos of his operettas . Author -songwriter, has been interpreted by the greatest : Jean Sablon, Josephine Baker, Luc Barney ... He is also the author of music and film scripts...

A contemporary photograph of a NOTORIOUS B.I.G. "LIFE AFTER DEATH" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These ...

Fiorino is a 1922 liquor advertisement by Jean D'Ylen for Asti Spumante. The artwork features a Frenchman dressed in stereotypical colonial-era clothing. He tickles the face of the S...

This original vintage poster for Trans World Airlines (TWA) promotes travel to Rome with a captivating image of the Fountain of Neptune in Piazza Navona. The central focus is the statue of Poseidon, depicted in dynamic detail, surrounded by cascading water. Above the statue, a TWA Constellation...

MASSIMO LISTRI Opera Nacional, Paris, France 40 x 48 inches 100 x 120 cm Edition of 5 48 x 60 inches 120 x 150 cm Edition of 5 71 x 88.5 inches 180 x 225 cm Edition of 5 Framing ...

There are certain poster images that transcend the medium in their beauty and importance; this is one such piece. Cacao Van Houten by Henri Privat-Livemont is acknowledged as one of ...

Le Corbusier's original 1971 exhibition poster at Galerie Denise René embodies the essence of the famous architect's visionary design and revolutionary aesthetic. This remarkable pos...

Color woodcut/lithograph triptych with chine collé and collage, Edition 30 Since 1985, Woodman has collaborated with Master printer Bud Shark to produce monotypes, woodcuts and l...

Ting Shao Kuang (b. 1939) Harp 1999 color screen print, signed on the lower right side and numbered AP40/50A on the left in pencil, ...

A contemporary photograph of Guns N' Roses iconic "Appetite for Destruction" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Dest...

David Hockney inspired fluorescence figurative blue figurative Portrait . Born and raised in Silicon Valley, Matthew Tierney studied UCLA’s School of Theater, Film, and Television, ...

Color monotype on Arches paper. Signed in pencil and with the artist's signature black ink stamp in lower right. Titled in pencil in lower margin. Published by Novak Graphics, Tor...

Matsu (Pine) Woodcut, 1968 Signed: "'Matsu' Naoko Matsubara" in pencil by the artist (see photo) Annotated in pencil "Ed 25" (see photo) Edition: 25 Condition: 7" long waterstain at ...

This is a more narrative piece, not to point to a certain theme or subject matter but to play with the element of detail and variation in an imaginary setting. I chose black and whit...

This is an original vintage poster created in the 1950's by the artist, Tilyjac. It tells the viewer to enjoy the Vins Dauphin (the Wines of the Dolphin). Dauphin is also a region in...

Screenprint, lithograph and linocut in colours with collage, marbling and hand-colouring, 1989, on T. H. Saunders and Somerset papers, signed and dated ‘88’ in pencil, numbered 'AP I...

Massimo Listri Libraries Biblioteca St. Emmeram II (Library), Regensburg, Germany, 2016 40 x 48 inches 100 x 120 cm Edition of 5 48 x 60 inches 120 x 150 cm Edition of 5 71 x 88.5...

Churches of Rome Chiesa del Gesù, 2019 48x60 inches Edition of 5 Archival Pigment Print Framed

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Artist: Joseph Zirker (American, born 1924) Title: Untitled Year: 1988 Medium: Color monotype Paper: Arche 88 Size: 42 x 30 inches Signature: Signed and dated in pencil by the artist Printer: The artist Condition: Very good Frame: Unframed About the artist. Joseph Zirker is a noted American modern artist, educator, lecturer that was born on August 13, 1924 in Los Angeles, California, United States. As a young man he Served with United States Navy, from 1944 to 1946. He attended the University of California in Los Angeles 1946—1947. He got a bachelor of Fine Arts at the University of Denver in 1949 and a master of Fine Arts, University Southern California, 1951. He was a printer and research fellow at Tamarind Lithography Workshop in Los Angeles, 1961—1963. Lecturer University Southern California, 1963. Instructor Los Angeles County Art Institute, 1964, San Jose City College, California, 1966—1980. Lecturer Stanford University, 1981—1983, 1986—1990. All along his carer, he had numerous acclaimed shows in the U.S and abroad. He is known worldwide as an innovator in monotype and printmaking. His works are represented in private and public collections, both in the USA and worldwide, including: Grunwald Collection, U.C.L.A., Los Angeles, California, Brooklyn Museum, Brooklyn, New York Free Library of Philadelphia, Pennsylvania June Wayne, Tamarind Lithography Workshop, Los Angeles, California Tamarind Archives, Tamarind Lithography Workshop, Los Angeles, California, Charles White, Los Angeles, California Stanley Freeman Collection, Los Angeles County Museum, Los Angeles, California Ben Smith...

No Title (No 62) Photography Edition of 18 47 x 47 inch by Yevgeniy Repiashenko Photography Year photo was taken: 2021 Unframed - ships in a tube This picture is a part of Spir...

"Free Fallin" Photography 40" x 60" in Edition 1/3 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Edition of 7: 30" ...

NV4 is an original minimalist print by Jonathan Moss. The N.V series of unique, one-off, relief prints find their origin in his videos of flashing lights found in city centres at nig...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

This is a contemporary black and white photograph of North American Wild Horses Photography by Shane Russeck Printed on archival photographic paper Edition of 10 Signed and numbere...

Kokoschka, Oskar. SELBSTBILNIS VON ZWEI SEITEN ALS MALER (SALON WOLFSBERG). Lithographed poster in colors, 1923. 48 7/8 x 34 1/2 inches, 1252 x 882 mm. Poster for a gallery exhibitio...

Brown Bear 2019 Unsigned Archival pigment paper Framing available. Inquire for rates. Shane Russeck has built a reputation for capturing America's landscapes, cultures and endang...

A team is hard at work riveting a hull of a warship in this American WWI poster. Building naval ships became one of the most important home front jobs in America during WWI. The reas...

Screen print in colors on paper. Hand signed and numbered by the artist. From the edition of 250. Sheet size 43 x 36 inches. Image size approx 36.5 x 30.25 inches. Certificate o...

Artist: Mel Ramos, American (1935 - 2018) Title: Hav a Havana #7 Year: 2008 Medium: Lithograph, signed and numbered in pencil Edition: 199 Paper Size: 29.75 in. x 44.5 in. (75.57 cm...

The work of Luis Gordillo spans more than five decades. He began his career by developing a new pictorial language that became a point of reference for an entire generation of artist...

Diptych x 2 (40 x 40 x 0,04 in) - archival ink print on canvas, limited edition of 20 - artwork can be shipped in a tube or framed in a crate ...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

"Censored" Black & White Photography 45" x 60" inch Ed. 2/3 by Brendan North From “Painted Poetry” series: “Painted Poetry” is a collection of 40 photographs created over 4 years an...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

This romantic poster recalls imagery from the Belle Époque era and promotes Moët Champagne, which has a 270 year history. Moët & Chandon , is a French fine winery and co-owner of the luxury goods company LVMH Moët Hennessy Louis Vuitton SE. Moët et Chandon is one of the world's largest champagne producers and a prominent champagne house. Moët et Chandon was established in 1743 by Claude Moët, and today owns 1,190 hectares (2,900 acres) of vineyards, and annually produces approximately 28,000,000 bottles of champagne. By the late 1800s this brand had a long-established reputation of glamour and prestige, associated with success and royalty. Award winning artist Vince McIndoe...

Published by edition GKM. Unframed. Edition: 15 ex. Signed by the artist. Free shipment worldwide. “With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between concrete and abstract. He knows how to create chromatic melodies that shift in timbre from cobalt blue to blood red. His pictures are an artistic epicentre where lines, letters and numbers meld with vigorous swashes of colour.” That is how the writer Johan Persson has described the artist’s paintings. With this exhibition we honour James Coignard, showing some of his last carborundum engravings and paintings as well as presenting the book “L’œuvre gravé de James Coignard” volume VI. In this edition, we have gathered together all the engravings that James Coignard produced between June 2005 and his decease, on 7 March 2008. Behind him he left many fond memories and a life’s work as a great artist. James Coignard’s principal modes of expression were oil on canvas and gravure au carborundum, but also in bronze and glass sculptures as well as in ceramics. His work has been shown on more than 400 exhibitions, primarily in Central Europe and Scandinavia, but also in Canada and the USA. His first Swedish exhibition was at Malmö Museum in 1956. The early 1970s saw the start of a long-term liaison with Galleri Östermalm in Stockholm, owned by Editions Sonet. They came to represent him in Scandinavia and edited several volumes of his graphic works. It was not until 2003 that we at Galleri GKM Siwert Bergström...

Cyd Fontaine (Lausanne, 1992) is a contemporary artist renowned for her captivating use of dreamy atmospheric gradients, which has helped her carve a distinctive niche in the world o...

Embossed serigraph in colors with foil stamping on paper. Hand signed and numbered on front by Erte. From the edition of 300. Artwork size 34.5 x 26.5 inches. Framed size approx 4...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Artist Name: Larry Zox Title:Niagara Series IV Yellow Signed Linocut Lithograph Year : 1979 Medium Type: Print - Linocut Lithograph Size-Width Size-Height : 42.25'' 29.75'' Signed ...

Not one to shy away from human representation, Pia Clodi’s more portraiture-like works continually offer the sitter an air of anonymity, and as such the viewer has the opportunity to...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

This is an Alexander Chen embellished giclee “Times Square Parade”. In good condition condition minor chip . Measures 45x35

Damien Hirst, The Currency Unique Prints H11-907, 2022 Archival Quality Giclée Reproduction on Heavy Weight Enhanced Matte Professional Stock 100 x 1...

This is a contemporary photograph of an American Bison. 40x50 Unsigned print Printed on archival paper and using archival inks Framing available. Inquire for rates. Shane Russeck...

Peruvian Stream is a contemporary blue toned artwork computationally engraved on aluminium. It is part of a pair, and each can be sold separately. Artist Matteo Mauro...

Frida is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller i...

Figurative abstract woodcut print titled "Serpientes Cafe" by Cecelia Sánchez Duarte. Pencil signed with "P/A" (Artist Proof), title, and signature bottom margin. Image, 31"H x 23.25"W. Sanchez Duarte is a visual artist and a cultural activist. Cecelia also teaches Art History at Escuela Profesional de Danza de Mazatlán, is the Fine Arts Coordinator at Centro Municipal de Artes, cofounder of the new Técnico en Artes Plásticas and founder of a painting workshop for children. She has had more than 300 collective exhibits internationally as well as 17 solo shows. Cecelia Sánchez Duarte lives in Mazatlán, Mexico. Cecilia Sánchez Duarte became the new director of the Art Museum of Mazatlan in 2017. Cecilia Sanchez Duarte works in printmaking at the Taller Experimental de Estampa Jose Guadalupe Posada...

Large-scale photograph from the Equine Beauty series. The legendary and complex relationship between humans and horses is an enduring one. The horse’s distinctive blend of grace and...

Screen Print in colors on Museum Board, #15 from Edition of 100 Signed and Dated, Lower Right Published by International Images, Inc. Putney, Vermont Provenance: Private Collection,...