Archival Paper Prints and Multiples

Eric Clapton photographed in Surrey, 1993. Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate. 20" x 24" - Edition of 50 + 10 AP Your certific...

Backstage in Las Vegas, 1971 Signed and Numbered Lifetime Edition C-Type Print from the Terry O’Neill Estate. Available in: 20" x 16" Edition of 50 + 10 Artist Proofs 24" x 20" Ed...

Backstage in Las Vegas, 1971 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate Available in: 20" x 16" Edition of 50 + 10 Artist Proofs 24" ...

Peter Cook and Dudley Moore in a pool in costume, Beverly Hills, 1975 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate 16" x 20" - Edition of...

In concert during his Isolar tour, The Forum, Inglewood, CA, USA, February 1976 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate 16" x 20" - ...

From the ‘Yellow Mustard Suit’ series, in Los Angeles, 1974 Signed and Numbered Lifetime Edition C-Type Print from the Terry O’Neill Estate 20" x 24" - Edition of 50 + 10 AP Your ...

Profile image from the ‘Yellow Mustard Suit’ series, in Los Angeles, 1974 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate 16" x 20" - Editio...

At director George Cukor’s home in Los Angeles, 1975 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Estate Available in: 20" x 16" Edition of 50 ...

Charlotte Rampling, 1976 Signed and Numbered Lifetime Edition Gelatin Silver Prints from the Terry O’Neill Estate 20" x 24" - Edition of 50 + 10 AP

Clint Eastwood on the set of the American Western ‘Joe Kidd’, in 1972 Signed and Numbered Lifetime Terry O’Neill fine-art prints from the Terry O’Neill Estate 16" x 20" - Edition o...

Brigitte Bardot on the set of ‘Les Petroleuses’ a.k.a. ‘The Legend of Frenchie King’, Spain, 1971 Signed and Numbered Lifetime Edition Gelatin Silver Print from the Terry O’Neill Es...

Brigitte Bardot on the set of ‘Les Petroleuses’ a.k.a. ‘The Legend of Frenchie King’, Spain, 1971. Signed and Numbered Lifetime Terry O’Neill fine-art prints from the Terry O’Neill ...

Bruce Springsteen on the Sunset Strip, in Los Angeles, 1975. In the background is the billboard for his album ‘Born to Run.’ Signed and Numbered Lifetime Terry O’Neill fine-art prin...

Paul McCartney plays the piano at the Ringo Starr’s wedding to Barbara Bach at the London club Rags, 1981. Ringo can be seen on the left and Linda McCartney on the right. Lifetime E...

Lithograph in colors, on wove paper 20.37 x 58.25 in (51.74 x 147.96 cm)

Lithograph in colors on Arches paper 21.25 x 29.50 in (53.98 x 74.93 cm)

Salvador Dalí's "Montre Molles et Les Papillons" is a surreal masterpiece that fuses the artist's iconic melting clocks with the delicate beauty of butte...

Etching and Hand Color on Japon Paper 25 x 20 in (63.50 x 50.80 cm) Nude with Garter or Nu à la Jarretière is LXIX of C drypoint etchings published between 1969 and 1970. Furthermo...

The Hippies – Women in the Waves (Femmes dans les Vagues) Drypoint Etching c. 1969 25" x 20" Edition size: 1-145 signed & numbered on Arches, I-C on Japon paper. ML/Argillet #37...

Marc Chagall (1887 - 1985) Monde Familier (Everyday World), 1983, (edition 49/50) lithograph in colors on Arches paper Sheet size: 13.70 x 10.60 in (34.80 x 26.92 cm) Everyday World...

Marc Chagall (1887 - 1985) Le Peintre a la Veste Rouge (The Painter in a Red Vest), 1974, (Artist's Proof) Lithograph in colors on Arches paper Sheet size: 13.70 x 10.60 in (34.80 x...

Marc Chagall (1887-1985) Le Chevalet aux Fleurs, 1976 Lithograph in colors on Arches paper Sheet: 29-7/8 x 19-7/8 inches (75.9 x 50.5 cm) (sheet) Edition 33/50 Signed and numbered in...

Kehinde Wiley After Pontormo's "Two Men With a Passage" from Cicero's "On Friendship", 2009 Archival inkjet print on Hahnemuhle fine art paper Framed Dimensions: 38 3/8 x 32 7/8 inch...

Carmon Colangelo Precarious World, 2016 Silkscreen Chine-colle and relief paper Framed Dimensions: 21 3/4 x 19 inches (55.2 x 48.3 cm) Image Dimensions: 16 1/2 x 14 inches (41.9 x ...

Sandra Payne Untitled (from Most Definitely Not Profile Ladies series), 1986; 2022 Digital fine art pigment on archival paper Framed Dimensions: 24.5 x 22.25 inches (62.2 x 56.5 cm)...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

On a beach for publicity images for the 1964 James Bond film ‘Goldfinger’, where Blackman portrayed Pussy Galore. Signed and Numbered Lifetime Edition Gelatin Silver Print from the...

Agent X Ice Cube (Black & White) (50 Years, Hip Hop, Rap, Iconic, Artist, Musician, Rapper, Anniversary, Legend, Pop Art) Archival Pigment Print with Archival Inks on 240 gsm Hahnemü...

Growing Strong, by Melanie Yazzie, Native American, monotype, green, black, bird natural wood frame 27.25" x 35.25" paper size 20" x 28"

Paul McCartney and John Lennon rehearse for a TV special at Wembley Studios, April 1964. Signed and Numbered Lifetime Terry O’Neill fine-art prints from the Terry O’Neill Estate Li...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one i...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits of Neil Armstrong. Cao seamlessly ties together two astronomical events from the ‘60s: Ali’s incredible career and the moon landing...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits of Neil Armstrong. Cao seamlessly ties together two astronomical events from the ‘60s: Ali’s incredible career and the moon landing...

In a captivating new collection, Alex Guofeng Cao dazzles audiences with his unique twist on instantly recognizable images. Inspired by history and pop culture, Cao manipulates one iconic image to create another in his extraordinary large-scale works. From a distance, the pieces appear to be a singular image but as the viewer approaches closer, you find each work is a masterfully crafted compilation of minute detailed images layered next to one another, creating a mesmerizing and hypnotic optical illusion. Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm. Take the piece, Ali vs Armstrong; here we see the iconic image of Muhammed Ali’s victory composed of thousands of tiny portraits...

Agent X Novanamic mRNA (black) (Pop Art, Street Art, Urban Art) Digital Print on Archival Paper Year: 2021 Edition: 70 Size: 36 x 34 inch Signed COA provided (gallery issued) Ref.: 9...

Agent X Hematriptan mRNA (black) (Pop Art, Street Art, Urban Art) Digital Print on Archival Paper Year: 2021 Edition: 70 Size: 38 x 33 inch - 96 x 85 CM Signed COA provided Ref.: 92...

TECHNICAL INFORMATION Alex Katz Twilight, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 40 x 88 i...

TECHNICAL INFORMATION Alex Katz Sunset 3, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 39 x 70 i...

Technical Information Alex Katz Sunset 2, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 42 x 46 i...

TECHNICAL INFORMATION Alex Katz Sunset 1, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 E...

TECHNICAL INFORMATION Alex Katz Sunrise, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 in...

Agent X Sasaki (Red) Offset Lithograph Date: 2020 Size: 30 x 20 inches Edition 125 Signed COA provided Agent X is an emerging artist who creates experimental multimedia collages an...

Agent X Sasaki (Pink) Offset Lithograph Date: 2020 Size: 30 x 20 inches Edition 125 Signed COA provided Agent X is an emerging artist who creates experimental multimedia collages a...

Beach Landscape Photography, Ocean Print, Color Photography-Lowtide Swash 022 ABOUT THIS PIECE: "Lowtide Swash 022" was part of a series of landscape ph...

A 12-color silkscreen from the signed and numbered edition of 75. Beautifully framed. James Brown's artwork can be found on the collections of: Centre National d'Art et de Culture G...

Red Sonica Whisper