Harry McCormick

Russian Tea Room, Photorealist Screenprint by Harry McCormick

Harry McCormick, American (1942 - ) - Harvey's Chelsea Restaurant. Medium: Serigraph, signed and numbered in pencil, Edition: 250, Image Size: 24 x 32 inches, Size: 28.5 x 40 in. (72...

Harry McCormick, American (1942 - ) - Empire Diner. Medium: Screenprint, signed and numbered in pencil, Edition: 250, Image Size: 24 x 31.5 inches, Size: 29 in. x 40 in. (73.66 cm x ...

Harry McCormick, American (1942 - ) - La Cabana. Year: circa 1990, Medium: Screenprint, signed and numbered in pencil, Edition: 250, Size: 26 in. x 35 in. (66.04 cm x 88.9 cm)

Harry McCormick, American (1942 - ) - The Landmark Tavern II. Year: circa 1985, Medium: Lithograph, signed and numbered in pencil, Edition: AP 60, Size: 26 x 31 in. (66.04 x 78.74 cm)

Artist: Peter Milton (American, 1930-) Title: Interiors IV: Hotel Paradise Café Year: 1987 Medium: Resist-ground etching and engraving on copper Paper: BFK Rives Image size: 23.5 x ...

John Baeder Berkshire Diner - 1980 Print - Serigraph on Somerset paper Paper Size - 30'' x 22'' in. Edition: Signed in pencil and marked from the edition of 250 John Baeder's calcula...

Denis-Paul NOYER Hotel : Mercedes Mannheim 370 and Casino of Monte Carlo Original lithograph, c. 1980 Handsigned in pencil Numbered / 115 copies On Arches vellum 75 x 105 cm (c. 30...

“INTERIORS IV : HOTEL PARADISE” Contemporary artist Peter Milton created this etching and engraving in 1987. The printed Image size is 24 x 35.50 inches and the paper size is 30.75 x 41.75 inches. This impression is signed, dated, and titled in pencil, and inscribed “84/175” – the 84th impression of an edition of 175 pieces. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul.” – T. L. Johnson and A. Shafer Peter Milton was born in Pennsylvania in 1930. He studied for two years at the Virginia Military Institute...