Damien Hirst

The Dead - Silver Gloss/Topaz

2009

Artist: Hirst, Damien Title: The Dawn of Golden Time Date: 2013 Medium: Foil block collage on Arches 88 paper with hand embellishment Unframed Dimensi...

Artist: Houben, R.T. Title: Ben Franklin $100 Date: 2017 Medium: Acrylic and foil on canvas Unframed Dimensions: 50" x 42" Signature: Signed Edition...

Artist: Houben, R.T. Title: $10 Hamilton Date: 2021 Medium: Acrylic and foil on canvas Unframed Dimensions: 40" x 30" Signature: Signed Edition: Unique

Stainless steel sculpture of a female Dancer edition of 9 Cut steel pipe, welded, powder coated Wall mounted Available in variety of powder coats including red, blue, black, white, ...

Artist: Amit , Joel Title: Flying Moon (Orange to Blue) Date: 2022 Medium: Galvanized steel, laser cut & hand painted Unframed Dimensions: 24" x 24" x 5" Signature: Plate signed Edition: Unique Provenance: Joel Amit...

Artist: Hirst, Damien Title: More To Come Series: The Currency Date: 2016 Medium: One shot enamel paint on handmade paper Unframed Dimensions: 8.4" x 11.8" Signature: Singed, ...

Erte (Romain de Tirtoff) 1892-1990 Russian/French. Diva Suite - Diva I & Diva II, both embossed serigraphs with foil stamping. These two large examples of...

Paper Size: 26.5 x 39 inches ( 67.31 x 99.06 cm ) Image Size: 26.5 x 39 inches ( 67.31 x 99.06 cm ) Framed: No Condition: A: Mint Additional Details: First edition exhibition p...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "Entablature IV" Portfolio: Entablature Series *Signed and dated by Lichtenstein in pencil lower right Year: 1976 Medium: Original Screenprint and Collaged mat pink Metallic Foil with Embossing on Rives BFK paper Limited edition: 14/30, (there were also 9 artist's proofs) Printer: Tyler Graphics Ltd., Bedford Village, NY Publisher: Tyler Graphics Ltd., Bedford Village, NY Reference: "The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997" - Corlett No. 141, page 144; PCN 7 (July-August 1976); "Tyler Graphics Catalogue Raisonné 1974-1985" - Tyler No. 337:RL5, page 210 Framing: Framed in a contemporary white moulding with plexiglass and matted with a custom hand-wrapped 8 ply linen mat Framed size: 39.5" x 55" Sheet size: 29.19" x 44.82" Image size: 20.19" x 38" Condition: Some light cosmetic wear to frame; presently no hanging wire. The artwork is in mint condition Very rare Notes: Provenance: private company collection - Miami, FL, acquired directly from the publisher Tyler Graphics Ltd., Bedford Village, NY in the 1970's. Numbered by Lichtenstein in pencil lower left. Comes from Lichtenstein's 1976 "Entablature Series" portfolio of 11 prints, (Corlett No. 138-148). Printed in six colors, in seven runs, from five screens, and one embossing plate. Collaboration: Kenneth Tyler (project supervision, plate/screen preparation, proofing, collage, and embossing); Kim Halliday (screen preparation and processing, proofing, and edition printing); Betty Fiske (proofing and edition printing). Swan Engraving processed the magnesium plate. Tyler Graphics Ltd. chop mark/blind stamp lower right. Workshop number inscribed in pencil lower left on verso: "RL75-197". Comes with its original Tyler Graphics "Entablature Series" booklet. Between 1971 and 1976 Lichtenstein produced two series of "Entablature" paintings, using photographs of architectural ornament he had taken in New York as the starting point for his compositions (see Cowart [1981]). The first "Entablature" paintings (1971-72) were black and white. The second group used color and were produced at roughly the same time the "Entablature" series of prints were in production at Tyler Graphics Ltd., 1974-76. The first discussions between Lichtenstein and Ken Tyler concerning the "Entablature" prints took place in May, 1974. As recorded in the Tyler catalogue raisonne, technical research for the project began in September 1974 and production was completed in April 1976. Lichtenstein produced one or more collages for each print in the series to serve as models for the plates and screens. Both the "Entablature" paintings and prints are intimately concerned with texture - the metallic paint and sand of the paintings, the foils and embossing/debossing techniques employed in the prints. The imagery itself - machined architectural ornament - takes technology as its subject. As Barbara Rose suggests, "That industrialism disrupted our notion of style as much as reproduction altered our conception of representation appears to be the subjects of Lichtenstein's "Entablatures". For each print in this series, the Tyler Graphics Ltd. catalogue raisonne gives exact method and press types, as well as the initials of the printers for each run. To complete certain phases of the project, Tyler employed the following companies: Drake Engineering, Danbury, CT (for machining of the metal die); Swan Engraving, Bridgeport, CT (for plate processing); Tallix Foundry, Beacon, NY (for bronze casting); and Tompkins Tooling, Gardena, CA (for machining of the metal die). The ten embossing plates for the series are now in the collection of the National Gallery, Canberra, Australia. Biography: American artist Roy Lichtenstein was born in New York City on October 27, 1923, and grew up on Manhattan's Upper West Side. In the 1960s, Lichtenstein became a leading figure of the new Pop Art movement. Inspired by advertisements and comic strips, Lichtenstein's bright, graphic works parodied American popular culture and the art world itself. He died in New York City on September 29, 1997. Lichtenstein was committed to his art until the end of his life, often spending at least 10 hours a day in his studio. His work was acquired by major museum collections around the world, and he received numerous honorary degrees and awards, including the National Medal of Arts in 1995. In 2013 the painting "Woman with Flowered Hat" set another record at $56.1 million as it was purchased by British jeweler Laurence Graff from American investor Ronald O. Perelman. This was topped in November of 2015 by the sale of "Nurse" for 95.4 million dollars at Christie's auction. Subsequently, that was topped with the private sale of his 1962 painting...

Foil block print on 300gsm Arches 88 archival paper Edition of 15 76 x 56 cm (30 x 22 in) Frame: 79 x 59 cm / 31.1 x 23.2 in Signed and numbered on the front Condition upon request F...

Gold foil and inkjet print on paper board Edition of 30 Signed on the back Excellent. Minor loss of surface texture on all corners of print visible under raking lighting. Deposit on ...

Christo and Jeanne-Claude The Wrapped (MCA), 1969 (Hand Signed), 2019 Four-color offset lithograph on 110 lb. Crane Lettra Cover stock, with an elegant gold foil stamp. Hand Signed by Christo 22 3/5 × 30 inches Edition of 200 Hand-signed by artist, Signed in graphite pencil by Christo on the front. Also elegant gold foil stamp. Unnumbered from the documented limited edition of only 200 Published by Museum of Contemporary Art, (MCA) Chicago Unframed A great gift for anyone with ties to Chicago! This limited-edition, hand signed offset lithograph on 110 lb. Crane Lettra Cover stock commemorates Christo's exhibition "Wrap In Wrap Out", which took place at the MCA’s original location on 237 East Ontario Street, Chicago. The project became the first public building Christo and his wife, Jeanne-Claude, wrapped in the United States. In an illuminating 2010 article entitled, "A daring plan to wrap a Chicago museum raises city ire – and makes art history," author Robin Amer recounts how Christo came to choose Chicago -- or rather how Chicago chose New York based artist Christo: "During a recent conversation he [Christo] ticked off the list of buildings he approached in downtown Manhattan starting in 1961. “Number 2 Broadway, number 20 Exchange Place,” he recalled. “We tried to wrap a building at Times Square. They all said no. Christo said he quickly realized that his best hope to wrap a building – his first in North America – would be to wrap a museum, which might be more amenable to his strange proposition.Christo and Jeanne-Claude approached New York’s Museum of Modern Art in 1967. The museum was interested, but Christo said they failed to secure permission for the show from the New York Fire...