Screen More Prints

Included in America: The Third Century portfolio, Roy Lichtenstein created Bicentennial as an original color lithograph with screenprint in 1975, conceived to celebrate the 200th ann...

Large, bold and stunningly beautiful – Silver Poppies, by Donald Sultan is a stunning screenprint on museum board, the artwork monogrammed, titled, date...

Large, bold and stunningly beautiful – Red Poppies, by Donald Sultan is a stunning screenprint on museum board, the artwork monogrammed, titled, dated and ...

OY Year: 2020 Medium: Color silkscreen and flocking on Rising 2-ply Museum Board Size: 32 x 30 inches (81 x 76 cm) Edition: 40 Deborah Kass employs the visual motifs of post-war pai...

This artwork titled "Panic in the Minefield" 2001 is an original color serigraph by noted American artist Mark Kostabi, born 1960. It is hand signed, dated and numbered 62/100 in pen...

This artwork titled "Careful with that Ax, Eugene" 2001 is an original color serigraph by noted American artist Mark Kostabi, born 1960. It is hand signed, dated and numbered 62/100 ...

Exhibition poster for "Andy Warhol: Pasadena Art Museum," edition size unknown, unsigned as issued. The name of American artist Andy Warhol is all but sy...

6-color screen print on Coventry rag paper 15.75 x 10 inches Edition of 300 Signed, dated and numbered on recto in pencil In originally packing and never removed.

Ink and 24-karat gold leaf on Hahnemühle paper (Unique) Signed, verso This artwork is offered by ClampArt, located in New York City. Anthony Aziz (b. 1961, Massachusetts) and Sammy...

40-color silkscreen on Zerkall Litho paper (Edition of 10) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Anthony Aziz (b. 1961, Massachu...

Silkscreen on Zerkall Litho paper (Edition of 15 variations) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Anthony Aziz (b. 1961, Massac...

Alexander Kosolapov Malevich, 1990 silkscreen on paper 22x30 inches Edition of 100 signed and numbered

ROBERT COTTINGHAM HI FI, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Drinks, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009...

ROBERT COTTINGHAM Champagne, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2...

ROBERT COTTINGHAM Fox, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' a...

ROBERT COTTINGHAM Hi, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' an...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

Glowing and contemplative, Ross Bleckner’s work blends abstraction with recognizable symbols to create meditations on perception, transcendence and loss. The artist created PS III -...

This 17-color screen print was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75.

This 17-color screenprint was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75 measuring.

This 17-color screenprint was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75 measuring.

This 17-color screen print was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75.

This 17-color screenprint was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75 measuring 33 x 42 in., unframed.

This 17-color screenprint was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75 measuring.

This 17-color screenprint was created by the artist in 1997. Signed in pencil and numbered, from the edition of 75 measuring 33 x 42 in., unframed.

This screenprint was created by the artist in 1991. Signed in pencil and numbered from the edition of 80 measuring 29 x 34 in. (73.7 x 86.4 cm.). Published by The Metropolitan Museu...