John Salt

John Salt-Arrested Vehicle with Red Seats- HAND SIGNED

1972

This limited edition print, titled Pioneer Pontiac, was created by the acclaimed artist John Salt in 1977. Published by OK Harris, this piece is part of a limited edition of 350 prints, each signed but not numbered by the artist. John Salt is renowned for his photorealistic style, and Pioneer Pontiac exemplifies his meticulous attention to detail and skill in capturing the essence of American car culture. The artwork features a beautifully rendered image of a vintage Pontiac...

Paper Size: 45 x 29.5 inches ( 114.3 x 74.93 cm ) Image Size: 41.75 x 26.75 inches ( 106.045 x 67.945 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...

Paper Size: 18.5 x 25 inches ( 46.99 x 63.5 cm ) Image Size: 14.5 x 22 inches ( 36.83 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: From a series of paintings ...

Paper Size: 19 x 25 inches ( 48.26 x 63.5 cm ) Image Size: 14.5 x 22 inches ( 36.83 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: From a series of paintings ti...

Makes a fantastic gift! Kehinde Wiley The World Stage: Israel (Hand Signed by Kehinde Wiley), 2012 Illustrated hardback monograph with dust jacket. Hand Signed by Kehinde Wiley Boldl...

Neil Welliver at O'Farrel Gallery poster, 1998 Offset lithograph 24 × 18 inches Unframed This offset lithograph poster was published on the occasion of Neil Welliver's exhibition at O'Farrell Gallery from July 17 to September 5, 1998. The depicted painting on the poster is Neil Welliver, Marsh Shadow, 1986. Publisher O'Farrell Gallery, Brunswick, Maine Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery About Neil Welliver: Neil Welliver (American, 1929-2005) is best known for his large-scale, vivid paintings and woodcuts of the remote Maine wilderness. Born in the small town of Millville, Pennsylvania, he first studied at the Philadelphia College of Art (1953), followed by Yale (1955), where Josef Albers and Burgoyne Diller were among his teachers. Their influence, as well as the rising popularity of Abstract Expressionism, is evident from Welliver’s early experimentations in abstraction, which include elements of color field painting, as well as the color theory of Albers, and the flattened, “allover” space of Pollock and de Kooning. Welliver would go on to teach at Yale from the mid-1950s to the mid-1960s, by which time he had moved formally towards the representational, beginning to paint the landscape of Maine. In the late 1960s and early 70s he also produced scenes of nude bathers in streams, their bodies abstracted by the moving water. While continuing to work as the chair of the University of Pennsylvania graduate school (1966-1989), he moved permanently to Lincolnville, Maine, in 1970. Welliver lost his studio, home, and much of his work to a fire in 1975. The following year, his second wife and infant daughter died. Further tragedy came with the death of his college aged son in 1991. His artistic practice remained the mode through which he survived these hardships. By the 1980s he was painting landscapes almost exclusively. The resulting body of work nods to many of Welliver’s early influences, as he utilizes natural repetitions and distortions to represent the innate abstraction of the natural world. These mature works are based on long plein-air studies, where Welliver would carry a 70-pound pack of painting supplies into remote landscapes, and sit for three hours at a time. He continued to paint the landscape surrounding his large property in Maine until his death in 2005. Welliver was a member of the National Academy of Design, and received notable awards from the Guggenheim Foundation and the Skowhegan School of Painting and Sculpture. His work is in the collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Museum of Fine Arts, Boston, among others. - Courtesy of Alexandre Gallery

Larry Clark The Smell of Us (Hand signed poster), 2015 Offset lithograph poster Pencil signed by Larry Clark on the back 10 1/2 × 15 1/2 inches Unframed Limited edition poster; hand ...

Richard Haas View of Munich (Szoke, 80), 1978 Offset Lithograph with Graphite Stencil on BFK Rives Paper 17 1/2 × 43 1/2 inches Edition 52/150 Signed, titled and numbered 52/150 in graphite pencil on the front Published by Brooke Alexander, New York and Galerie Biedermann, Munich, Germany; Printer: Deli Sacilotto...