Joe Tilson

The Oracle of Zeus, or Dionysos Anthios

1981

Signed, dated and titled in pencil. Inscribed 'AP', an artist's proof aside from the edition of 65.

Hand-painted multiple with lithography. Signed in pencil, inscribed 'Proof', a proof aside from the edition of 40. In a perspex presentation box. Published by Flowers Gallery, Lon...

This unique and stunning collection of original drawings, screenprint proofs and posters by David Hockney comprises works made to promote a lecture Hockney gave in the Percy Building...

Etching with aquatint, roulette, and drypoint, 1973. Signed in pencil and numbered from the edition of 120. From: Homage to Picasso. Printed on Rives paper by Aldo Crommelynck, Pa...

From 'Glass Wishes'. Signed, titled and dated in pencil. Numbered from the edition of 59. Printed and published by Gemini G.E.L., Los Angeles.

Etching and aquatint on Fabriano paper. Signed in pencil and numbered from the edition of 50 recto. Printed by 2 RC Editrice, Rome and published by Raymond Spencer Company for the...

Perspex form, vacuum formed acrylic and spray painted black, 1970, signed and dated verso, from the edition of 106, although an edition of 750 was planned it was not fully executed, published by xartcollection, Zurich, 59 x 59 x 9.8 cm. (23.2 x 23.2 x 3.9 in.) In 1970 British-Pop artist Richard Hamilton was invited to produce an edition of 750 small-scale multiples of the Guggenheim. The intention was to produce vacuum-form reliefs in Perspex and offset the costs of expensive molds by creating a large edition. In the end, the project proved more technically difficult than anticipated. Of the three colours (black, white and chrome), only a total of 271 were realised, 117 in white. The xartcollection was created in 1968 in Zurich, Switzerland by Sandro Bocola...

Alex Katz Black Brook, 1992 aquatint, Edition of 50 (Printers Proof available) 30 1/4 x 67 in. (76.8 x 170.2 cm) Alex Katz has painted scenes of the countryside in the American stat...

Donald Baechler, Potted Plant, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint on ...

Claes Oldenburg straddles the playful and the obscene in this colorful, spontaneous etching depicting an enormous tongue emerging from the clouds. When printing “à la poupée”, multip...

Wayne Thiebaud has long been recognized as one of America’s most prominent modern artists. Probably best known for his straightforward, deadpan still-life paintings of the 1960s, and...

"Pillory, Charing Cross" is an illustration (Plate 62) from "The Microcosm of London", published in London in 1809 by R Ackermann's Repository of Arts. The scene was created by one of the most famous British satirists and caricaturists of the late 18th and early 19th centuries' Georgian Period, Thomas Rowlandson, who drew the figures, while Augustus Charles Pugin drew the architecture. The plate was then created by Hill, Stadler and Bluck using a combination of aquatint and etching and was then hand colored with watercolor. Scenes illustrated in "The Microcosm of London" gives an accurate and often comical view of everyday life in London during the Regency Period of the early 19th century. While Pugin’s excellent architectural drawings capture the size and shape of the exterior as well as the interior of London’s principal buildings, Thomas Rowlandson’s insightful and often whimsical and satirical view of the city's inhabitants depicts the color and vitality of the late Georgian society, both rich and poor alike. This print depicts the "Pillory, Charing Cross", where criminals were brought and placed on display while secure in the stocks, as are seen in this print. A crowd is present in the square jeering at the prisoners. A statue of Charles I on horseback stands atop a very large pillar to the right. Shops with apartments are seen on the left. Young wealthy people frolic around and on a carriage on the right in front of the statue of King...