Screen More Prints

Artist: John Matos "Crash" Title: Fist Medium: Serigraph Signed: Hand Signed Measurements: 14.5" x11" Edition Number: 122/160 Condition:Excellent. This piece has been stored in a...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

Gerberas, 2020 Michael Craig-Martin Screenprint in colours, on Arches 88 paper, Signed, dated and numbered from the edition of 125 Published by Jealous Gallery, London, unframed. F...

Robert Rauschenberg, Overdrive, 2017 Screenprints in color on three individual maple wood skate decks With artist's printed signature 31 x 8 in. (78.7 x 20.3 cm), each, unframed Edit...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

Immerse yourself in the mesmerizing world of "Unity Obey Flower," a collaborative masterpiece by Kai and Sunny, in association with the renowned Shepard Fairey of Obey. Crafted in 20...

Hand numbered 198/200, signed and dated on the recto in the lower right margin. Provenance: Martin Lawrence Gallery, Los Angeles, 1993 and Private coll...

Montreux Jazz Festival, 1983 Keith Haring Screenprint in colours, on wove Printed by Serigraphie Uldry Bern, Switzerland Published for the Montreux Jazz Festival Sheet: 100 × 70 cm...

Jacques RICHEZ Dieppe 1918 † 1994 Etreinte. Sérigraphie en couleurs. H500xL690mm. Quelques traces de manipulation et rares légères éraflures principalement dans les marges. Epreuve...

Yaacov Agam, Silkscreen, Colored work, International artist, Israeli artist, Israeli art. Yaacov Agam’s polymorph is a unique example of geometric and kinetic art that changes as the...

Montreux Jazz Festival, 1983 Keith Haring Screenprint in colours, on wove Printed by Serigraphie Uldry Bern, Switzerland Published for the Montreux Jazz Festival Sheet: 100 × 70 cm...

Artist: John Baeder Title: Red Robbin (Diner) Medium: Screenprint Signed: Hand Signed Edition: From the edition of 250 Measurements: 30" x 22" Note: This piece is sold UNFRAMED ...

La Blusa Rosa II, 1995 "Sexual Spring-like Winter" is a large painterly work, created with layers of pink and resin by the art and film world's favorite enfant terrible, Julian Schn...

Original limited edition screenprint Excellent condition: Previously unframed and stored away from light Signed and numbered by David Shrigley in pencil Comes in original publisher’...

Sku: LC1852 Artist: Jim Dine Title: The red boots on a black ground, 1968 Year: 1968 Signed: No Medium: Serigraph Paper Size: 15.25 x 15 inches ( 38.735 x 38.1 cm ) Image Size: 15.2...

Artist: Robert Indiana, American (1928 - 2018) Title: Oranges from the American Dream Portfolio Year: 1969 (1997) Medium: Serigraph Edition Size: 395 Image Size: 16.75 x 14 inches Si...

"I’ve made several images over the years addressing police brutality, and I think humor and absurdity help make such a heavy topic more digestible. There is a violent history of poli...

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One and Robbie Conal to create a series of anti-Bush/anti-war posters for the street-art campaign: Be The Revolution. In 2005, Fairey accepted a residency at the Contemporary Museum in Honolulu, Hawaii, where he created murals and prints that reveal a dramatic combination of constructivist style with distinctly traditional Hawaiian themes and influences. Amanda Fairey gave birth to the couple’s first child, Vivienne in June 2005, she is the namesake of punk fashion legend Vivienne Westwood. Vivienne would be the model for Fairey’s “Vivi La Revolucion” print of 2008. Fairey's street-art, was featured with that of Dan Witz...

Colour screenprint on white wove paper Edition of 150 61 x 46 cm (24 x 18.1 in) Signed, numbered and dated on the front. Ink stamped initial “K” on the verso Condition upon request ...

Original silkscreen poster for Fred Sandback's exhibition at Galerie Reckermann, Cologne, March 12–April 15, 1971. Catalogue raisonné: 1970.01

Jonas Wood VOTE, 2018 6-color screenprint on Coventry rag paper Hand signed, dated and numbered from the limited edition of 300 by Jonas Wood on the front 20 3/10 × 14 3/5 inches Unf...

Ben Eine
 Rise Up, 2020 1 layer blend with black overlay screen print on Somerset printmaking paper
 50 x 50 cm (19.69 x 19.69 in) Edition 6 of 150 hand-signed...

Yayoi Kusama Dots Infinity (1986). Edition 57/100 Screenprint [2 screens, 2 colors] Signed, titled, dated and numbered 53/100 in pencil by the artist 28 x 32 cm [11 ¹/₃₂ x 12 ¹⁹/₃₂ ...

Serigrafía y hoja de plata sobre panel de MDF.

Chuck Sperry lives in the Haight-Ashbury district of San Francisco, where he’s made his particular style of rock poster designs for over 15 years. He operates Hangar 18, a silkscreen print studio, located in Oakland. Sperry works in San Francisco, but exhibits internationally from Athens to Argentina, Bristol to Belgrade (visited Belgrade at the invitation of The Cultural Minster of Serbia). By conducting workshops and lectures all over the planet, Sperry’s tutelage has inspired a new generation of rock poster and silkscreen artists worldwide. His artwork has been exhibited at leading San Francisco art institutions including the San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts; his prints have been archived by the Achenbach Graphics Arts Council, The Oakland Museum of California, San Francisco Public Library (Main Branch), the United States Library of Congress, and the Rock and Roll Hall of Fame. He has brought his rock artistry to projects for Goldenvoice, Live Nation, Virgin Megastore, Guitar Center, Random House, Harper Collins, Harvard University Press, Nylon, and Wired. Released in early 2009, the documentary film “American Artifact...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Nowhere Man," first released on "Revolver" by the Beatles in 1965. This limited edition was releas...

Ben Eine
 Stand Up, 2020 1 layer blend with black overlay screen print on Somerset printmaking paper hand-signed, numbered and blind stamp on the front 50 x 5...

Series - Market in Provence by Lélia Pissarro (B. 1963) Serigraph Image Size: 38 x 48 cm (15 x 19 inches) Sheet Size: 48 x 59 cm (18 ⅞ x 23 ¼ inches) Signed and numbered Printed in an edition of 300 SOLD UNFRAMED Literature Lélia Pissarro, The Colours of Silence, London, 2010, p. 205 (illustrated) Artist's Biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia...

Hand numbered, signed and dated on the recto in the lower right margin. Private collection. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-1990: The Complete Printed Works, Cantz, Stuttgart, 1997, p.146. Publisher Martin Lawrence...

Get Clay On canvas, Signed Lower Right and Numbered 51/120 in Lower Left. Pedro Friedeberg, Mexican (Born. 1936).Silkscreen "Gatos". Unframed. Signed Lower Right and Numbered 51/12...

SOLD UNFRAMED Series - Les Lavandières by Lélia Pissarro (B. 1963) Serigraph 38 x 48 cm (15 x 18 ⁷/₈ inches) Signed and numbered Printed in an edition of 300 Artist's Biography: B...

Libro de artista impreso en serigrafía sobre papel, cosido al medio de ambos acordeones para poder desplegar la pieza.

Hand-pulled screenprint composed of six colours on Somerset 310 GSM, with a gloss finish and cut edges, with a blind stamp. 12
 Hand-Signed, dated, and numbered by the artist, on rec...

"Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhythmic cycle, but when energized by a storm, waves can be incredibly des...

SEVENTH TORII is an original, hand drawn(not a photo reproduction or digital print), limited edition lithograph with gold silkscreen printed using hand lithography and serigraphy tec...

Peter Halley (American, born 1953) Organizational Charts, 1990 Medium: Portfolio of four silkscreens on mylar Dimensions sheet 1, Is it an Arrival or a Departure?: 83 x 57 cm Dimensi...

Rare Limited Edition Serigraph of John Lennon's most famous self portrait. originally drawn in 1968, this limited edition was released by Bag One Arts (The Lennon Estate) in 1995, a...

Anni Albers (1899-1994) ST, 1971 Medium: Screenprint on cardboard Dimensions: 83 × 62 cm (32 7/10 × 24 2/5 in) Edition: Not signed, not numbered outside the edition of 150. Condition...

Pedro Friedeberg, Mexican (Born 1936 - ) Silkscreen Signed Lower Right and Numbered 48/50 in roman numerals Lower Left. Beautifully Framed Under Plexiglas in Pedro's style, black ...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Real Love" one of the final songs written by John Lennon. It was recorded by Lennon as a demo while ...

Jack Bush (1909-1977) is known as one of Canada’s most successful abstract artists of the 20th century. In the 1960's he achieved international recognition for his works that positio...

Visual poems, the works in Vicuña’s PALABRARmas series are carefully attuned to the power of language. Many of these works incorporate wordplay, and throughout her practice, Vicuña t...

Walter Darby Bannard Siciliian Magician, 1980 Silkscreen on wove paper Pencil signed, titled and dated by the artist on the front Unframed Provenance: Bart Gallery, Providence, RI Th...

Artist: Hijack Title: Puzzled Medium: Unique silkscreen on Archival Fine Art Paper Size: 22 x 30 Inches Edition: 38 of 45 Year: 2006 Notes: "Puzzled," released as an edition of 45 w...

De la serie "Valle de Lágrimas" Serigrafía e impresión con tintas pigmentadas sobre papel. Edición de 5 ejemplares firmados y numerados con lápiz al frente de la pieza.

De la serie "Valle de Lágrimas" Serigrafía e impresión con tintas pigmentadas sobre papel. Edición de 5 ejemplares firmados y numerados con lápiz al frente de la pieza.

Libro de artista en dos tomos, impreso en serigrafía y tintas pigmentadas.

De la serie "Valle de Lágrimas" Serigrafía e impresión con tintas pigmentadas sobre papel. Edición de 5 ejemplares firmados y numerados con lápiz al frente de la pieza.

De la serie "Valle de Lágrimas" Serigrafía e impresión con tintas pigmentadas sobre papel.

De la serie Suite Ravensburg. Impresión en serigrafía sobre papel japonés Torinoko.

De la serie Suite Ravensburg. Impresión en serigrafía sobre papel japonés Torinoko.

Öyvind Axel Christian Fahlström (1928–1976) was a Swedish Multimedia artist. Fahlström was born in Sao Paulo, Brazil, In July 1939 he was sent to Stockholm to visit some distant relatives and after World War II he started to study and later on to work as a writer, critic and journalist. From 1960 until 1976 he was married to the Swedish Pop Art painter Barbro Östlihn. In 1953 Fahlström had his first solo exhibition, showing the drawing Opera, a room-sized felt-pen drawing. Also in 1953 he wrote Hätila ragulpr på fåtskliaben, a manifesto for concrete poetry, published in Swedish the following year and in English translation (by Mary Ellen Solt, in her anthology "Concrete Poetry. A world view") in 1968. In 1956 Fahlström moved to Paris and lived there for three years before he moved to Front Street studio, New York City. In New York he worked with different artists and explored his role as an artist further. In 1962 he participated in the New Realists exhibition at the Sidney Janis Gallery, in New York City. His work was included in the 1964 Venice Biennale and he had a solo exhibition at Cordier & Ekstrom Inc., New York. In 1965 he joined the Sidney Janis Gallery. In 1966 his work Performance of Kisses Sweeter Than Wine was included in 9 Evenings: Theatre and Engineering, organized by Experiments in Art and Technology at the 26th Street Armory, New York. The same year his painting in oil on photo...

Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures. The Athens National Museum of Contemporary Art, which was founded in 2000 and owns Chryssa's Cycladic Books, is in the process of converting the Fix Brewery into its permanent premises. Greek Exhibits, European Cultural Center of Delphi (Council of Europe). "Apollo's Heritage"(July 4, 2003 – July 30, 2003). Works by sixteen artists: Giorgio de Chirico, Salvador Dalí, Nikos Hadjikyriakos-Ghikas, Nikos Engonopoulos, Yannis Tsarouchis, Giorgos Sikeliotis, Takis, Arman, Fernando Botero, Chryssa, Dimitris Mytaras...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Woman," one of the final songs written by John Lennon. It was recorded by Lennon as a demo while in ...

Artist: Kenny Scharf Title: 'Vring!' Size: 28 x 23 in (71.1 x 58.4 cm) Medium: Archival print with metallic accents, gloss overlays, and screen printed highlights on 100% Cotto...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one-man show of his etchings. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York City and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

Cleve Gray Untitled, 1970 Silkscreen Boldly signed and numbered 32/100 in graphite pencil by Cleve Gray on the front 30 × 22 1/2 inches Signed and numbered 32/100 by artist on the fr...