21st Century and Contemporary Prints and Multiples

Bell Tower In Stockholm, 2013 Giclée print in colours on 350gsm Hahnemühle Museum Etching paper. signed and numbered in pencil Edition of 295 printed by GTZ Fine Art Editions, New York, published by Washington Green...

David Shrigley -- I'm In the Midst of It, 2022 70 x 50 cm It is created from the unique work: Untitled ( I'm In the Midst of It) (2021) Printed on 200g Munken Lynx paper Printed by ...

Takashi Murakami: Kaikai Kiki, Homage to Francis Bacon (Study of Isabel Rawsthorne), 2004 Experience a striking example of Takashi Murakami’s innovative artistry with "Kaikai Kiki, ...

A large scale photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Northern California's coastal redwood...

Garden Blackcap by Kate Heiss [2021] limited_edition Linocut Edition number 30 Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:0.5cm Sold Unframe...

"Le Buisson" by Henri Matisse is a high-quality lithograph printed on heavy printmaking board, authorized by the Succession Matisse. The print features wide margins on all sides and ...

Damien Hirst Forever (Large), 2020 Laminated Giclée print on aluminium composite panel digitally signed by the artist on the back 78 x 78 cm Edition of 1449 The editions titled Fru...

30 Cents Singapore Orchid Green, from the Heidler & Heeps Stamp Collection. This historic postage stamps that make up the Heidler & Heeps Stamp Collection, Singapore Series 'Postcard...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

December The Happy Year Harry Bunce Limited Edition Print Published 2017 as an edition of 365 worldwide (one for each day of the year) + 31 unique hand-embellished pieces. 31.5 x 28...

Unique hand painted with acrylic paint color screen print on 300 gsm somerset paper. Paint adds around 5mm of height to the print. Hand signed and dated lower right corner by Shane Turner...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and d...

Paper Size: 11.5 x 17.25 inches ( 29.21 x 43.815 cm ) Image Size: 11.5 x 17.25 inches ( 29.21 x 43.815 cm ) Framed: Yes Frame Size: H: 12.5 x W: 18.25 x D: .75 in. Condition: A: ...

MASSIMO LISTRI Kunsthistoriches Museum III, Wien, Austria, 2014 60 x 48 inches 150 x 120 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Fra...

Monoprint & hand embellishment on paper. Naga Kanya, 2018, monoprint, fantasy, marbled rag paper, pink, purple, blue

Etching realized by Fausto Maria Franchi in 2013. Edition of 55/200. Hand signed and numbered in pencil. Excellent condition.

70x70cm, print on canvas Edition 20 pcs.

MASSIMO LISTRI Castello di Friedstein a Gotha, Germany, 1999 48 x 60 inches 120 x 150 cm Edition of 5 Chromogenic Print Signed, dated, and numbered on verso label Unframed (Framin...

Color lithograph with metallic leaf, Edition 30 Kushner's use of rich color harmonies and bold, fluid drawing, mark his belief in the importance of beauty in our lives. Kushner ha...

42" x 28.5" Unframed Limited Edition Giclée & Silkscreen on Paper Hand Signed by Tom Everhart

10 color screen print on coventry rag 290 gsm paper with deckled edges. Hand signed and dated lower front by John 'Crash' Matos. Hand numbered 6/50 lower left front. Artwork size ...

Warm and Sunny is an offset lithograph by Takashi Murakami from 2011. The image size is 27 x 27 inches and the framed size is 39 x 39 inches. Framed in a contemporary, silver-tone fr...

Artist: Salvador Dali (1904-1989) Title: Femme à tete de Roses (Pittura N. Y415.35) Year: 2004 Medium: Lithograph on wove paper Size: 30.25 x 22 inches Condition: Excellent Inscripti...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

Medium: mezzotin Year: 2022 Edition: 50 Image Size: 17.75 x 23.5 inches Signed, titled and numbered in pencil by the artist Dramatic image of the streets of New York from the air. ....

"Elan" Ballet Photography 36 x 36 inch Edition 4/28 by Yevgeniy Repiashenko Photography Year photo was taken: 2019 Unframed - ships in a tube This picture is a part of Spirit s...

large-scale original art photography from a series of dramatic cloud atlas observations and abstract skyscapes above the Mediterranean Sea CLOUD Study III...

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

Fishermen at dawn on Lake Inle in Burma in total harmony with their surroundings. – Cawston won the BJP Nikon Endframe Award in 2009. His prize was funding for a dream project and he...

Gorgeous Banksy Monkey Parliament lithograph. Released at Banksy’s exhibition Banksy vs. Bristol Museum in 2009. The original tube that this ...

As books are beginning to disappear in physical form this picture is perfect for book lovers, it even gives you the sense of book hunting in a store. Photographed in Delhi in 2013 th...

David Shrigley -- Play It Loud, 2020 70 x 50 cm Printed on 200g Munken Lynx paper Printed by Narayana Press in Denmark Unnumbered from the Edition of 350 Unsigned FREE SHIPPING

Jonas Wood Interiors and Landscapes Exhibition Poster, 2017 Poster 24 × 18 in 61 × 45.7 cm Published by David Kordansky Gallery

Signed, titled and numbered by the artist, from the serigraph edition of 40 prints completed at Self Help Graphics in Los Angele. Trouble in Paradise is based on tourism postcards and California orange crate art...

The Art of Modern Living is a digital pigment print on paper, image size 24 x 38.5 inches and framed in a contemporary light wood frame. Signed 'RENÉ LALONDE' lower right and annotat...

Rare Out of Print Andy Warhol Mao Skateboard Deck circa 2012. A highly decorative estate licensed skate art piece which originated circa 2012 as a result of the collaboration betwe...

FARM WOMAN, by JONATHAN GREEN, is a hand drawn, limited edition lithograph printed in 19 colors using hand lithography techniques on archival printmaking paper, 100% acid free. FARM ...

Robert Longo White Snow Trees of the Back Forest 2020 Archival pigment print 71.1 × 55.8 cm (28 × 22 in) Signed and numbered Edition of 30 In excellent condition PLEASE NOTE: Editio...

Screen print in colours on wove paper Edition of 50 59.5 x 41.8 cm (23.4 x 16.5 in) Signed, numbered and dated on the front Mint Published by White Cube Images of edition numbering ...

Polymer gravure etching, 2016, signed in pencil, dated, titled, edition of 100, published by Emin International, London, on Somerset wove paper (unframed) sheet: 45 by 53cm.; 17¾ by ...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes and the desert modernism movement. It's made by layering paper cutouts...

David Shrigley See Me As I Really Am, 2024 Woodcut 65 x 50 cm Edition of 100 hand-signed and numbered by the artist published by Shäfer Editions and comes with COA from the publisher...

Artist: Peter Max (1937) Title: Cosmic Umbrella Man Year: 2003 Edition: 496/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 3.5 x 3 inches Condition: Excellent Inscr...

Artist: Ana Mercedes Hoyos, Colombian (b. 1942) Title: Colombia Comercio Triangular Year: 2005 Edition: 75 Medium: Screenprint, signed and numbered in pencil Size: 22 x 30 in. (55.8...

This is an exclusive handprinted limited edition cyanotype. "Pacific Ocean Currents (Blue Border)" is a handmade cyanotype print of rough water texture resembling Pacific Ocean swell...

Frank Stella Frank Stella Prints 1980 - 2008 (Hand Signed), 2008 Offset Lithograph Hand signed and dated on the front, in innk with inscription that read...

Marfa ( Texas ) by Frank Schott country road view in West Texas, from a series of impressions captured in Marfa, Texas, longtime residence of minimalist artist Donald Judd 46 x 72 i...

Yoshitomo Nara Invisible Vision Offset print on paper Sheet size 72.8 x 51.5 cm

Published and printed by te Neues Verlag, Germany. Framed in a white wood framewith a 1.125 inch front profile and a .75 inch side profile. Overall dimensions are approximately 19 x ...

Ed Ruscha Science is Truth Found Out (Red) Limited Edition scarf , held in bespoke box, 2022 Limited Edition 100% silk twill scarf, bearing Ruscha's authorized signature on both the ...

Richard Serra Double Level I, 2009 Etching 67 1/2 x 65 inches (171.5 x 165.1 cm) Edition of 12/22 Signed

Brian Eno Etchings (Set of 9), including Tao Boötis, Osiris, Elger, Majriti, Saffar, Methuselah, Dimidium, Taphao Thong and Samh. 2023 Etching on Somerset Velvet 400gsm, with deckled...

Temporal Perception 92 (Diptych) (Abstract photography) Archival C-Print — Unframed. Edition: 1/12 Available in 2 weeks turnaround. Sold as a diptych. Each element size is: 45 x 30"...

"Melanie" Black & White Photography 35" x 25" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finis...

Keith Haring Bearbrick Vinyl Figures: Set of two (400% & 100%): A unique, timeless collectible trademarked & licensed by the Estate of Keith Haring. T...

Artist: Slonem, Hunt Title: Lemon Bunnies Series: Bunnies Date: 2017 Medium: Lithograph on Paper Unframed Dimensions: 24" x 16" Framed Dimensions: 29" x 22" Signature: Signed...

WE ARE DESTINED TO MEET SOMEDAY! BUT FOR NOW, WE WANDER IN DIFFERENT DIMENSIONS Date of creation: 2017 Medium: Offset lithograph with cold stamp on paper Edition: 300 Size: 68 x 68 c...

Brian Eno Methuselah Etchings 2023 Etching on Somerset Velvet 400gsm, with deckled edges 65.5 × 65.5 cm (25.8 × 25.8 in) Signed and numbered Edition of 25 In excellent conditions P...

"Bajo el Volcan" Etching and Aquatint on Archival Paper, Limited Edition X/XXII Dramatic etching by Jorge Martínez García (Chilean, b. 1963). A mountain range rises into a cloudy sk...