Oversized Figurative Prints

Created by Alex Katz in 2019, Dancer I is an original screenprint in colors, hand-signed by the artist in pencil, and numbered, measuring 60 x 36 in. (153 x 92 cm), unframed, from  t...

This photograph titled "The Salon of Oluchi Oneya and Leenos The Forgiving" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemü...

This photograph titled "Se Nan Pue Bwa A Pichpen" is an original artwork by Shawn Theodore measuring 60"h x 40"w. It is an archival pigment print on Hahnemühle rag paper. This collection debuted at SCOPE Miami Beach Immersive Art Fair 2020. Images from the art fair, which this year occurred in an online format, are included so you may see the full collection by the artist for this solo booth display. Please send us an inquiry or use the "Ask the Seller" button to receive more information about the piece and for pricing for the series. Paradigm Gallery is thrilled to announce the addition of photographer Shawn Theodore to their impressive artist roster. Theodore is an award-winning photographer whose work explores and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries, and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), and The Barnes Foundation (2017, 2018, 2019), among others. Paradigm Gallery will be premiering his work at a solo booth at SCOPE Immersive 2020, which will be virtually accessible. The booth will be a preview of Theodore’s first solo exhibition with Paradigm, opening in February 2021. ________________________________ BIO Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness. Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo...

This photograph titled "Konfyans" is an original artwork by Shawn Theodore measuring 60"h x 90"w. It is an archival pigment print on Hahnemühle rag paper. This collection debuted at...

Pigment print on aluminium Edition of 30 “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works ...

Artist: Robert Rauschenberg, American (1925 - 2008) Title: Narcissus, from ROCI USA (Wax Fire Works) Year: 1990 Medium: Acrylic, Enamel, and Fire Wax on Sta...

Artist: Mimmo Paladino, Italian (1948 - ) Title: Muto Year: 1984 Medium: Etching and aquatint in colors with mink fur collage, signed and numbered in pencil Edition: 17/35 Size: 60.5...

Aquatint etching on paper (Edition of 75) Signed and numbered in pencil, l.r. This artwork is offered by ClampArt, located in New York City. Born in Naples, Italy, Francesco Clemen...

Signed and numbered in pencil

Screenprint in 18 colours on Archivart 100% rag 4-ply Museum Board Signed and numbered in pencil with blindstamp

Lithograph on Rives BFK White paper Signed and numbered

John William Hill (1812-1879) "Boston" 1857 Hand-Colored Engraving Site Size: 29 x 41 inches Framed Size: 39 x 52 inches Born in London, England, John William Hill came to America with his family at age 7. His father, John Hill, was a well-known landscape painter, engraver, and aquatintist. John William had a career of two phases, a city topographer-engraver and then, the leading pre-Rafaelite school painter in this country. Employed by the New York Geological Survey and then by Smith Brothers...

Ink and 24-karat gold leaf on Hahnemühle paper (Unique) Signed, verso This artwork is offered by ClampArt, located in New York City. Anthony Aziz (b. 1961, Massachusetts) and Sammy...

Fritz Scholder (1937-2005) "Custer's Last Fight" Lithograph Ed. 54/75 Signed and Numbered Site Size: approx 22 x 30 inches Framed Size: approx. 35 x 41.5 inches Born in Breckenridge, Minnesota, Fritz Scholder became a prominent Indian portrait, figure, and genre painter in Arizona. His father was part Indian, and Fritz Scholder chose to focus his art work on this part of his lineage and to express both an appreciation and disdain for Indian customs, traditions, and daily existence. He studied at the University of Kansas, Wisconsin State University, and with Wayne Thiebaud at Sacramento College in California. He earned an Master of Fine Arts Degree from the University of Arizona. A long-time resident of Scottsdale, Arizona, he has filled a number of artist-in-residence positions including Dartmouth College and the Oklahoma Summer Arts Institute. In his work, he frequently showed the harsh, realistic side of Indians' lives and deaths including the affects of alcohol and other dissipations, but some of his depictions are humorous such as Indians on horseback carrying umbrellas. His brush-work is generally swift, and the tone often sombre and surreal. A major influence on his work was the contemporary British artist, Francis Bacon, from whom Scholder adapted ironic distortions into his canvases. In Scottsdale, he lived in an adobe-walled oasis of palm trees and oleander, amid skulls and skeletons. In the garden, several of Mr. Scholder's sculptures feature skull-like heads. In the library, an 18th-century skull engraved with witchcraft symbols shared shelf space with books printed before 1500. And the porch had been converted into a skull room, complete with Mexican Day of the Dead...

Pigment print on aluminium Edition of 30 “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works ...

Pigment print on aluminium Edition of 30 “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works e...

Edition of 5 Eric Fischl’s extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries. ...

Edition of 9 Eric Fischl’s extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries. ...

Published by the Welsh Arts Council, screenprinted by Priestleys.

Marino Marini "ll Teatro delle Maschere" 1973 Lithograph Signed and Numbered Ed. 25 Sheet Size: approx 27.5 x 39 inches Framed Size: approx 35 x 47 inches Marino Marini (February 27...

This artwork is a giclee print with hand embelishment on canvas, by Brazilian artist Otto De Souza Aguiar 1936-2006. It is hand signed and numbered E.A 25/45 in gold pigment. The ca...

This artwork titled, Les Otages Civils, 1916 is an original lithograph on Japan paper by Swiss/French artist Theophile Alexandre Steinlen, 1859-1923. It is signed and numbered out of...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The use of clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Coffee Break...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Hot Dog...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Football Players...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Moving Woman" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". The strong image of a human female naked body depicted as being one of the building parts...

Versaweiss Knife Chill, 2016 Archival pigment print on archival mat paper 150 x 200 cm Unique Don’t Kill Bambi: The studio 54 phenomenon repositioned at times of crisis Wit...

Versaweiss Horse-tag, 2016 Archival pigment print on archival mat paper 100 x 120 cm Edition of 5 Don’t Kill Bambi: The studio 54 phenomenon repositioned at times of crisis ...

Alexis Fidetzis How to Brutally Construct an Absurd Sense of Pride digital print on paper 30 x 150 cm (7 pieces)

Luna Trelles Dorazon d Pollo 2, 2015 Archival pigment print Edition of 10 49 x 39 inches (124 x 80 cm)

Untitled (Angel's Wing), 2014 archival pigment print image size: 36 x 51 inches paper size: 40 x 55 inches Edition of 25