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**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** **This Price Won't Be Repeated Again This Year - Take Advantage** Celebrating the one and only Marilyn Monroe by Mauro Olive...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** **This Price Won't Be Repeated Again This Year - Take Advantage** Celebrating Spain in this original unique series. The colo...

**ANNUAL SUPER SALE UNTIL JUNE 15TH ONLY** THIS PRICE WON'T BE REPEATED AGAIN THIS YEAR - TAKE ADVANTAGE OF IT** Celebrating the Beatles by Mau...

**ANNUAL SUPER SALE UNTIL APRIL 15th ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Celebrating the Beatles by Mauro Oliveira. The color...

Hugh Turvey is a British artist and photographer who uses x-ray technology to create what he calls Xograms, a fusion of visible light and x-ray imagery. Hugh trained as a designer /...

Stephan Küthe Untitled III Giclée on Hahnemühle Velvet Year: 2021 Signed, numbered and dated by hand Edition: 15 Size: 13.0 × 19.5 on 18.3 × 23.8 inches ...

The Empresses (Set of 5) by Damien Hirst (B. 1965 - ) Laminated Giclée print on aluminium composite, screen printed with glitter Signed on the reverse 100 x 100 x 2 cm (39 ³/₈ x 39 ...

Gicleé print signed on archival paper

Limited edition print titled "Motorcycle & Biplane" by artist Scott Jacobs. This print is 819 out of 1500 created in a limited production, there is also a...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

11" x 10" Unframed Giclee Hand Signed by Michael Flohr

Hugh trained as a designer / art director but on discovering photography he retrained under iconic photographer Gered Mankowitz. During 1996/1997 he started experimenting with x-ray/shadow photography...

Archival inkjet print Signed and dated, recto 7 x 5 inches, sheet This artwork is offered by ClampArt, located in New York City. Maggie Meiners is an American artist and photograph...

Photo Giclee print, signed lower right by Michael MacDonald. 17 3/4 x 11 3/4 art 29.375 x 23.50" frame

30" x 30" Limited Edition Giclee of 150 Hand Signed by Jim Keifer

The edition is a four-page print of the front page of The New York Times website on May letterhead. As the edition was printed in the period of one day, the timestamps changed and th...

24" x 45" Unframed Hand Embellished Giclee on Canvas Monoprint Hand Signed by Jim and Kathleen Keifer

30" x 30" Limited Edition Giclee of 150 Hand Signed by Jim Keifer

40" x 40" Unframed Limited Edition Giclee on Canvas of 50 Hand Signed by Jim Keifer

24" x 24" Limited Edition Giclee of 75 Hand Signed by Jim Keifer

24" x 24" Limited Edition Giclee Numbered of 35 Hand Signed by John-Mark Gleadow 2023 24" x 24" Printers Proof Hand Signed by John-Mark Gleadow 2023 24" x 24" Artist Proof Numbered of 4 Hand Signed by John-Mark Gleadow 2023 The genesis of “Prince” came from a collector who had seen “The Day the Music Died”. As an avid Prince fan, he wanted this homage to him for his home. He had been especially dazzled during a concert when Prince performed at the piano and wanted to capture that moment. Purple Rain is his favorite album and loved how I handled it in “The Day the Music Died” so he wanted it reproduced in the same place – on the left – in his original. A book about Prince’s band rounded out the collector’s vision, and he chose the specific image for the Prince and the Revolution...

Nick Smith is a celebrated artist known for his innovative approach to contemporary art. Using meticulously arranged color chips, he creates intricate compositions that explore theme...

Nick Smith is a celebrated artist known for his innovative approach to contemporary art. Using meticulously arranged colour chips, he creates intricate compositions that explore them...

Damien Hirst, an iconic figure in contemporary art, is celebrated for his bold and provocative exploration of life, death, and the human condition. Renowned for his use of formaldehy...

Nick Smith is a celebrated artist known for his innovative approach to contemporary art. Using meticulously arranged color chips, he creates intricate compositions that explore theme...

Damien Hirst, an iconic figure in contemporary art, is celebrated for his bold and provocative exploration of life, death, and the human condition. Renowned for his use of formaldehy...

Barbara Rosenthal’s Conceptual Photography is a concrete manifestation of complex inner stresses from external realities of all kinds: physical, familial, political, religious, time,...

30" x 30" Unframed Giclee Print of 195 Hand Signed by Jim and Kathleen Keifer

30" x 30" Unframed Limited Edition Giclee on Canvas of 50 Hand Signed by Jim Keifer

30" x 30" Limited Edition Giclee Hand Signed by Jim Keifer

18" x 30" Limited Edition Giclee of 200 Hand Signed by Jim Keifer

24" x 24" Limited Edition Giclee of 75 Hand Signed by Jim Keifer

30" x 30" Limited Edition Giclee of 30 Hand Signed by Jim Keifer

Signed and editioned on reverse. This print is a surreal depiction of an aerial view of a planned building development or subdivision. Developed in the imagination of the artist, th...

TECHNICAL INFORMATION: Derrick Adams Side Part - Style Variation 4 2023 Screenprint and archival inkjet 27 x 20 in. Edition of 50 Pencil signed and numbered

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...