Wood Prints and Multiples

This encaustic collage is mounted on a birch wood panel with 3/4 deep natural wood sides. The thick transparent slightly frosty encaustic beeswax coating on the front gives it a cool...

This encaustic collage is mounted on a birch wood panel with 3/4 deep natural wood sides. The thick transparent slightly frosty encaustic beeswax coating on the front gives it a cool...

This is an original cyanotype permanently sealed and mounted on a round wooden panel. It requires no framing. This monoprint was made using tall grass from my own garden during the ...

Pink Dark Sun is an abstract limited edition fine art color print by photographer and graphic artist Susan Daboll. This minimal square print is framed in a thin black wood frame and ...

Takashi Murakami Flowers Skateboard Deck: A vibrant piece of Takashi Murakami wall art produced as a limited series in conjunction with the 2017 Murakami exhibit: The Octopus Eats It...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 473 100 x 100 cm (39.4 x 39.4 in) Signed on the front Mint. Sold in...

Set of 5 skateboard decks Publisher: Estate of Jean Michel Basquiat in collaboration with Artestar Please see our other listings

Two-color screen print, painted museum box (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series, "Final Girls" This artwork is offered by ClampArt, located in...

large format photograph of summer beach scene along Cinque Terre coast by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Manarola (2020) 61.25” x 81.68” / 155.60 cm x 207.46 cm limited edition of 6 + 2AP (signed, titled and dated on certificate of authenticity) original archival photography print with diasec (acrylic glass) face mount in contemporary white lacquered gallery frame Each limited edition original Massimo Vitali photograph is printed in Italy under artist supervision in strictly limited edition (6 + 2AP) , signed/titled/dated upon final inspection and expertly framed at renowned European art framing facility About the artist: Massimo Vitali was born in Como, Italy, in 1944. He studied photography at the London College of Printing, in the 1970s initially working as a photojournalist, but at the beginning of the 80s a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. Vitali worked in cinematography for film and television before beginning a fine art practice in 1995. Over the next two decades, he would gain recognition for his highly detailed, epic-scale panoramas — sociopolitical observations of the natural habitat of humankind at leisure. Vitali’s iconic series of beach panoramas, captured from a distance with an elevated large-format camera platform, began in the light of drastic political changes in Italy. Drawing inspiration from Renaissance and Old Flemish masters, in which the central space is fully exploited and the urban or natural landscape becomes the background, Vitali’s photographs grasp the viewer by capturing highly detailed observances of the recreational habitats of modern civilization. Vitali’s work has been collected in six monographs: Beach and Disco, Natural Habitats, Landscapes With Figures, Swimming Pools, Short Stories and Entering A New World. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporaine in Paris, the Centre Pompidou in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris and the Museo Luigi Pecci in Prato. Massimo Vitali lives and works in Lucca (Italy) and in Berlin (Germany). __________________________ SOLO EXHIBITIONS 2021 'PienoVuoto' Forte di Belvedere, Florence 2020 'Human Constellations' Museo Ettore Fico, Turin 2019 Massimo Vitali: Short Stories' Mazzoleni, London 2018 'Coastal Colonies' Spiral, Tokyo 2017 ‘Disturbed Coastal Systems’ Benrubi Gallery (New York, USA) 2016 ‘Landscapes with Figures’ Guido & Schoen Arte Contemponania (Genoa, Italy) 2016 ‘Massimo Vitali’ Crown Gallery (Knokke-Zoute, Belgium) 2016 ‘Massimo Vitali’ Ronchini Gallery (London, UK) 2015 ‘New Prints’ Hilger Next (Vienna, Austria) 2014 ‘Massimo Vitali’ Studio La Citta (Verona, Italy) 2014 ‘Into The White’ Erich Lindenberg Art Foundation (Porza, Switzerland) 2014 ‘Sempre più pallide. Towards Achrome’ Palazzo Tadea (Spilimbergo, Italy) 2013 ‘Between Normalities’ Bonni Benrubi...

Spring (In Bloom) is a contemporary print by NY artist Rachel Olivia Berg. It features abstract geometric elements on a circular birch panel. Edition of 10 24" Diameter $800 Editio...

Skateboards made in conjunction with the Estate of Andy Warhol

made in conjunction with the Keith Haring Foundation

Jean-Michel Basquiat "Horn Players" skateboard deck set: Basquiat Skateboard Deck Triptych licensed by the Estate of Jean Michel Basquiat in conjunction with Artestar c. 2017, featu...

On a musical and pleasure seeking pilgrimage… during Las Romerias de Mayo festival in Holguín. The Spirit of the Revolution series documents the generation of Cubans that saw the dramatic changes of 1959 as young adults. They have a strength of character and underlying humour that transcends the struggle that has defined their lives. James Sparshatt went to Cuba in 1999 and was so taken with the island and its people that he returned 15 times in the following 7 years. His images are largely of the music and dance and innate rhythm of the island but he also found himself drawn to an older generation that had been old enough to understand the revolution in 1959, that lived through 40 years of tumultuous and often difficult times and who now watch with some bemusement the return of the outside world in wave upon wave of tourists. James Sparshatt’s photographs of the “Revolutionary” generation of Cubans capture their grit and indominatable spirit. The black and white portrait photograph...

Barbara Kruger Don't Be a Jerk skateboard, 2017 Screenprint on skate deck 31 × 8 inches From the Barbara Kruger "The Drop" show at Performa 17 in NYC. which sold out. An ironic play ...

A tobacco farmer from the Viñales valley in Cuba. In 1959 residents of Cuba were faced with a stark choice: stay on their island home and live as a “revolutionary” or leave. Some believed wholeheartedly in the new beginning, some were willing to be carried along and some abandoned everything they had and chose exile. The Buena Vista social club found fame as much for their incredible spirit as for their music, but for me it is the everyman that you meet on the street, cigar clamped between teeth, a glint in the eye, that embodies the true spirit of those who have lived through 50 years of struggle. James Sparshatt’s photographs of the “Revolutionary” generation of Cubans capture their grit and indominatable spirit. The black and white portrait photograph...

large format photograph of Azores beach by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leis...

Paul McCarthy Doll, Limited Edition Skate Deck, 2016 Silkscreen on 7-Ply Canadian Maplewood Skate Deck. Numbered from the edition of 250. Signed on the deck. (Printed). Numbered from...

large format photograph of Gulpiyuri, a flooded sinkhole with inland beach in Northern Spain, by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographica...

A young Moon occurs between a new Moon and waxing crescent, when the first slivers of illumination appear. The Moon has had an importance in human culture since the dawn of history ...

large format photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern leisure Cala Conta...

RETNA Skateboard (Blue with red back) and embossed COA hand signed by RETNA, 2018 Silkscreen on Maplewood skate deck. Accompanied by Certificate of Authenticity hand signed by RETNA on Embossed Letterhead 32 × 8 1/2 inches Edition of 100 Accompanied by embossed Certificate of Authenticity hand signed by RETNA Limited edition of only 100 - not to be confused with sthe larger edition of 250. This work is accompanied an embossed Certificate of Authenticity, issued by the sponsor "Beyond the Streets...

iconic large format beach photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites an...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Artist: Denial Title: The End Size: 8-1/2 x 11-1/2 x 1-3/4 inches (21.6 x 29.2 x 4.4 cm) Medium: Spraypaint on Wood Edition: 4/10 Year: 2022 Notes: Signed and numbered in ink ...

AJ Masthay - Adoration of the Mother - Wood Panel - Contemporary Prints Artists: Masthay, AJ Manufacturer: Furnace, The - Hartford, CT Edition Details ...

Born in Budapest in 1907, he had a humble upbringing and a passion for the arts. Shortly after the Hungarian Revolution broke out in 1956, Domján was invited to showcase his work in New York; given both the circumstances and opportunities, he readily accepted. Eventually, with his wife and children, he settled in Tuxedo Park. Here, he established the Domján Studio and where lived until his passing in 1992. In his early years, and during the Great Depression, Domján toured Europe with the desire to be engulfed by art. Previously, much of his time had been consumed with the work of both an engine fitter and foundry worker. After testing the waters of over 20 different professions, he discovered his passion in the arts. Later, during his European tour, he earned his way by selling a variety of works including both paintings and sketches. Post-depression, he returned to Hungry where he studied seven years at the Budapest Academy of Arts. Having spent an earlier portion of his life as a painter, Domján created his first woodcut in 1947 by using oil paint as opposed to printer’s ink. The result was stunning. This technique, becoming his signature style, would later set him apart from others within the trade. To create his pieces, Domján applied rich color, layer by layer, and lays claim to having “succeeded in bringing to the world something that had not existed before.” Ultimately, each print became three dimensional and gave the appearance of a painting. His technique has gained him international merit as well as the honor of receiving China’s “Master of the Color Wooodcut” award, a recognition given only once every century. The inspiration behind many of Domján’s woodcuts, coupled with his love of nature, is derived from Hungary’s brilliant folklore. The intricacy of his design is certainly his prominent element; however, their subtle coloring and abstract images contribute to his unique style. For the 59th Anniversary of composer Béla Bartók’s opera, Duke Bluebeard’s Castle, Domján used the opera’s profound imagery to create a series of woodcuts. The work included an ominous castle, coiled snakes, smirking masks, elusive zodiac symbols, and the story’s forbidden key. In doing so, Domján was able to weave traditional folklore components into a fantastic piece of modernized art. His work is not only expressive of Hungarian folklore...

Louise Marler Love Letters C-print on metallic white stock mounted on wood 2022 Size: 7x7x0.5in Edition: 25 Signed and numbered by hand Stamped Ready to hang COA provided Ref.: 924802-1414 Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art culture, as well as Joshua Tree, California, where I created the first Type Inn.” Louise Marler’s work is featured in the documentary film, “The Typewriter in the 21st Century,” and TV shows including “Two and a Half Men,” “Curb Your Enthusiasm,” “The Mentalist,” “Criminal Minds,” “Jane the Virgin,” “Dear White People,” “Lucifer,” “Arrested Development,” “Love Victor, and “A Black Lady Sketch.” typewriter queen, la marler, typewriter art, typewriter artist, Typewriter, Typewriters midcentury, modern art, typewriter life, typewriter community, typewriter collection...

large format photograph of Cote d'Azur beach by iconic Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and rituals of modern...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Edition of 657 40 cm (15.8 in) Diameter Signed on the front Mint Sold in the original HENI packaging

Waxing means that it is getting bigger. Gibbous refers to the shape, which is less than the full circle of a Full Moon, but larger than the semicircle shape of the Moon at Third Quar...

This is an Archival Pigment Print on Ply. Ply Size: 30 in x 30 in Artwork comes unframed. About the Artwork:   This is a direct to ply print, router cut at 30 in. It is circular floral piece with vivid colors. About the Artist: Rin Lack...

Cape Cross, ‘Hoof’, 2001 by John Reardon Edition of 2/7 Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Museum AR Glass This pie...

Larry Clark Untitled Larry Clark Kids Skateboard Skate deck, 2013 Screenprint on 7-ply Canadian maplewood skatedeck Signed on the deck 31 × 8 inches Long sold out 2013 skateboard dec...

Rebecca Warren 1990 2007 Lithographic print on MDF, with pom-pom, cotton thread, wood shaving, twig, and wood chip 16 x 9 x 3 inches; 41 x 23 x 8 cm Edi...

Mediterranean Calm Image: 25.0 x 18.2 cm Mount: 37.8 x 29.8 cm Wood engraving 1932 Condition: Slight foxing One of Fourteen Wood Engravings, from drawings made on Orient Line Cruises by Robert...

Two Hand Crafted Foster Brothers Frames, Gilded, c. 1920 Wood and gold leaf 22 7/8 x 18 x 3/4 inches each Note: One frame contains a mezzotint by William Henderson. Established by S...

Jean-Michel Basquiat Skateboard Deck: Limited edition skate deck licensed by the Estate of Jean Michel Basquiat in conjunction with Artestar in 2018, featuring the much iconic early ...

A set of nine prints. The Moon has had an importance in human culture since the dawn of history and likely before. Often revered as a feminine deit...

Giclée print on poly-cotton artist canvas mounted on birch plywood stretcher Unique variant from an edition of 606 70 cm (27.5 in) (diameter) Signed on the front Mint. Sold in th...

The first visible phase after the New Moon. The Moon has had an importance in human culture since the dawn of history and likely before. Often revered as a feminine deity and count...

This collage on wooden panel was made by cutting up and reassembling hand-printed botanical cyanotypes (blueprints or sunprints) of leaves from my own garden. While cyanotypes are tr...

The old country girl from the Escambray mountains. I was hiking in the mountains, close to Trinidad, when I met the family. They invited me in and we chatted about our different live...

Las Memorias… sitting on a rocking chair in Viñales watching the sunset and thinking of life. The wife of a tobacco farmer, a strong woman of generosity and humour lost in thought w...

The Viñales valley in western Cuba is a place of stunning beauty where perhaps the finest tobacco leaves in the world are grown. The tobacco farmers live hard but proud lives. The S...

In Ancient Tunis Image: 23.0 x 15.2 cm Mount: 35.7 x 26.8 cm Wood engraving 1932 One of Fourteen Wood Engravings, from drawings made on Orient Line Cruises by Robert Gibbings...

A last quarter or waning quarter moon appears half-lit by sunshine and half-immersed in its own shadow. It rises in the middle of the night, appears at its highest in the sky around ...

Protect Me From What I Want - Gold (Truism Series) By Jenny Holzer Jenny Holzer is a renowned contemporary artist known for her thought-p...

Folk Dancers, Skansen Image: 24.6 x 19.0 cm Mount: 37.3 x 31.0 cm Wood engraving 1932 One of Fourteen Wood Engravings, from drawings made on Orient Line Cruises by Robert Gibbings...

Alien Workshop Iconic Collection W/ Andy Warhol Comes with Original Alien Skateboard sticker and wall mount. From the Iconic Collection, depicting the...

Iris Kaempferi: No. 36 YEDO-JIMAN Tokyo, Yoshinoen-Garden, circa 1910. Hand-coloured woodblock print on handmade rice paper, numbered and captioned at top, outlined in ink. Framed ...

IGGY POP - FROM THE ALBUM COVER SOLDIER 1980, STUDIO PORTRAIT (1979), 1979 Archival Pigment Print, Framed Image size 30 x 30 cm Frame: 55 x 45.5 cm © Brian Griffin "I remember this...

Two-color screen print, painted museum box (Edition of 3 + 2 APs) Signed and numbered on label, verso From the series, "Final Girls" This artwork is offered by ClampArt, located in...

Print info: Impact #3 by Michael G Jackson Archival Pigment Print (from the original hand made darkroom c-type), 35 2/5 × 23 3/5 in 90 × 60 cm Limited Edition of 3. Framed print...

Artist: Louis Dancourt, French XXth Title: Along the Seine II Year: 1946 Medium: Oil on Canvas mounted to Wood, signed l.r. and dated verso Image Size: 16 x 20 in. (40.64 x 50.8 cm) ...

Artist: David Bromley, British/Australian (1960 - ) Title: Girl and Boy Shopping Year: circa 2010 Medium: Wood Collage Multiple, signed in pencil Edition: AP Size: 11.5 x 15.5 in. ...