21st Century and Contemporary Prints and Multiples

Grayson Perry Dimensions: 72 x 53cm. Developed for the Holburne Museum, in collaboration with Kit Grover.

Limited edition Jean-Michel Basquiat Spray Paint Can 2017: Highly collectible limited edition Jean-Michel Basquiat spray paint can by published ci...

The art "John Lennon" is Limited Edition of 25 canvas geclee prints on canvas in size 18″X24″. The print is covered by resin layer which protects the vibrancy of color pigments. Afte...

Cindy Sherman Limited Edition Offset Lithograph on 200g Profisilk paper 33 × 23 1/4 inches Edition of 200 Limited Edition Offset Lithograph on 200g Profisilk paper Hand signed in re...

Medium: linocut Year: 2023 Image Size: 18 x 24 inches Edition Size: 10 Image of a immigrants wading across the Rio Grande River at the border between Mexico and the United States. ...

Jonas Wood (American, b. 1977) Bonsai, 2021 Medium: 13-color screen print on rising museum board Dimensions: 71.1 × 58.4 cm (28 × 23 in) Edition of 200: Hand-signed and numbered

R2D2 from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" These iconic figures hav...

Mel Ramos (American, born 1935) Hav-A-Havana 6, 1999 Medium: Lithograph in colors, on wove paper Dimensions: 52.5 x 55.5 cm Edition of 199: Hand-signed and numbered Condition: Mint

Signed and numbered Lithograph by rc gorman In good condition Measures 43x34 International buyers must cover shipping expenses

Paper Size: 43 x 29 inches ( 109.22 x 73.66 cm ) Image Size: 35.5 x 24.5 inches ( 90.17 x 62.23 cm ) Framed: No Condition: A: Mint Additional Details: "Tension in Height," a poster ...

Landscape with Window and Chair Mezzotint on wove paper, 2000 Signed in pencil lower right (see photo) Edition: 150 (93/150) (see photo) Special Presentation Print for the Print Club...

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

This exhibition poster, featuring Nudes with Beach Ball, was created for a show held in Madrid, Spain, in 2007. This first edition includes text and show information, capturing the e...

Yoshitomo Nara Missing in Action Offset print on paper Sheet size 51.5 × 36.4 cm

In this contemporary encaustic monotype, layers of pigmented beeswax on lightweight paper create an undulating composition suggesting layers of the earth's crust and geological forma...

ABOUT THIS ARTIST: Carla Sutera Sardo was born in Agrigento, Italy in 1983. She studied law and graduated in 2011. During her university career, she became interested in photography,...

This image has been printed in 3 differing colors. Yellow, orange and green. All the things I may have forgotten has nothing to do with the image. its just a random idea that came to...

This piece titled "All the Small Things III" is a unique monoprint piece by Kate VanVliet and is made from hand-colored etching with soft ground on Rives BFK. This piece is a unique ...

A very good impression of this color screenprint on cream wove paper. Signed and numbered 112/126 in pencil by Frankenthaler. Printed by Brand X Editions, Ltd., New York. Published b...

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 leisure Plage des Catalans...

Serigraph Signed in pencil

Cliclists is a screen print realized by Ugo Nespolo in 2008, in occasion of the Olympic Games in Beijing. Edition of 260. Hand signed and numbered in pencil. Excellent condition.

Louise Bourgeois (French-American, 1911-2010) Je t'aime, 2005/2023 Medium: Fine bone china plate Dimensions: 26.7 diameter (10.5 in) Edition of 250: Not signed, not numbered (Printed...

large format photograph of Malbacco Desiata, a secret swim hole in Tuscany, by iconic Italian photographer Massimo Vitali, renowned for his grand scale to...

Vibrant giclee limited edition print by worldwidely established Polish artist Rafal Olbinski. Figurative surrealistic print with man in a hat with a bird cage. His side face has a cu...

David Shrigley AS THE YEARS PASS YOU GET MORE BEAUTIFUL, 2022 Linocut Format 65 x 50 cm Paper: Somerset 300 gr. Edition of 100 printed by hand Hand-signed and numbered Published by s...

"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...

Giclee limited edition print by worldwidely established Polish artist Rafal Olbinski. Figurative surrealistic print presentic an intricate scene on a lake with swans, pegasuses, ball...

Damien Hirst, Forgotten Promises (Inachis), 2011 Lithograph print on paper 70.7 x 100 cm (27 7/8 x 39 3/8 in) Rare original exhibition poster in excellent with very light signs ...

portrait of a boy limited edition hand signed print on paper

large scale abstract photograph of muted color monochromatic water surface and horizon SEASCAPE IV by Frank Schott an homage to Mark Rothko 70 x 56 inche...

Offset print, cold stamp and high gloss varnishing Edition of 300 Signed and numbered on the front Mint Our mission is to connect art collectors to opportunity. Whether it be figura...

Bowie 2 Bowie By BATIK Signed Limited Edition Archival pigment pop art print of the infamous criminal arrest mugshot of David Bowie in 1976 BATIK is a London based fine artist an...

Jonas Wood Large Shelf Life (Hand Signed), 2018 Limited edition offset lithograph (uniquely hand signed by the artist) 23 × 23 inches Boldly signed and dated in black marker on the f...

Yoshitomo Nara Tomorrows Far Away Offset print on paper Sheet size 51.5 × 36.4 cm

ICES Pink Lemonade, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex coas...

“Foreign Bodies” Photography 24" x 24" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancholy se...

Paul Insect’s bright, multi-textured collages feature cropped portraits, patterned color fields, benday dots, and decorative elements such as diamond dust ...

Yoshitomo Nara Thinking My Home Offset print on paper Sheet size 51.5 × 36.4 cm

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

Yoshitomo Nara Harmless Kitty Offset print on paper Sheet size 51.5 × 36.4 cm

Wilhelm Schlote I love you (Ich liebe Dich) Giclee on Linen Year: 2015 Size: 15.4 × 12.0 inches Signed, dated and titled by hand COA provided Ref.: 924802-914 ---------------------------------- Wilhelm Schlote (born March 4, 1946 in Lüdenscheid) is a German artist, children's book author, cartoonist and caricaturist. Schlote grew up in Essen. His first art teacher was Heinz Mack (member of the artist group ZERO), who recognized Wilhelm Schlote's talent for drawing early on. His mentor and friend Albert Schulze-Vellinghausen, who, as a literary critic for the Frankfurter Allgemeine Zeitung (FAZ), was the predecessor of Marcel Reich-Ranicki, was just as philosophically influential. After graduating from high school, Schlote studied philosophy in Bonn until 1968 and then art at the Kunsthochschule Kassel until 1972. From 1973 to 1978 he was a teacher in higher education in Kassel and Hamburg. Simultaneously with the decision to go to Paris, Schlote was offered a professorship at a German art college. In 1978, however, Schlote decided to move to France, where he lived partly in Nice, but mainly in Paris. In 1980 he exhibited for the first time in the Medical Faculty of St. Germain des Pres in Paris. Since 2011 Wilhelm Schlote lives and works in Cologne, Germany. In 1968 Schlote published the first of a total of 35 children's books. Starting in 1976 he published cartoon postcards - the so-called "Schlote-Karten" - and in the same year received the German Youth Book Prize for “I wish for a hippopotamus today”. In 1991 he was awarded by the "Académie Calvet"; the award was presented to him by Catherine Deneuve and Claude Chabrol. Schlote's cartoons and drawings have appeared in magazines such as Die Zeit, Die Welt, The New Yorker, Le Monde and Le Figaro. He creates his city posters...

Available sizes: 32x47 inches (80 x 120 cm) - Edition of 20 Archival Pigment Print Unframed Ask us for framing options. Björn Persson is an internationally renowned artist based i...

This stunning exhibition poster was created for Louis Comfort Tiffany – Artist for the Ages, a show honoring the visionary craftsmanship of one of America’s most celebrated designers...

Silkscreen on vélin d’Arches paper. Paper Size: 17.75 x 13.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Letter from Birmingham City Jail, 2007. ...

'Nomad, New York', artwork by Richard Heeps featuring a time-lapse of the iconic art deco Empire State building in the mist. Photographed in New York City in 2017, he executed this i...

**ANNUAL SUPER SALE UNTIL JUNE 15TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* **Important: THIS IS A LIMITED EDITION OF ONLY 30 PRIN...

"Manda Yawanawá, from the Village of Escondido, Rio Gregório Indigenous Territory, State of Acre, Brazil" by Sebastião Salgado Sebastião Salgado spent six years traveling through th...

60 x 40 inches Archival Pigment Print Mounted and Framed - Black Matt Frame. Frame Profile 0.75 x 2 inches (see images) Non-glare Large-scale photograph from the Equine Beauty serie...

This piece titled "Like a Pen VE 10/18" is a variable edition piece by Kate VanVliet and is made from hand-colored etching on Rives BFK with an artist-made frame. This piece is an ed...

"Venus Goes Swimming" Photography 18" x 18" inch Edition 1/15 by Brendan North Available sizes: Edition of 15: 18" x 18" inch Edition of 7: 30" x 30" inch Edition of 3: 40" x 40" i...

This artwork, titled "Tulips in a Round Vase" and dated 2000, is an original color lithograph on Arches paper by noted American artist Gary Bukovnik, born 1947. It is signed and numb...

20th century figurative etching print coloured with watercolour by Polish artist Leszek Rozga. Print depicts three followers of Judaism with star of David above them. Artwork is quit...

Four color process print on vélin paper. Paper size: 10.75 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, George Condo, Drawing Paintings, 201...

Signed and numbered from the edition of 50. Bozon's prints are often a balance between abstraction and landscape, which he creates with drypoint and aquatint. He has decided against...

Created by Thomas Ruff in 2019, Lotus Flower is a pigment ink print on paper. Hand-signed, dated, and numbered from the edition of 50, the artwork measures 19 x 13 in. (48.3 x 33 cm)...

Another Beautiful Judea themed limited edition by 3D Pop Artist Charles Fazzino. Each piece is hand cut, hand glued and hand embellished with glitter and Swarovski Crystals. Hand sig...

Offset lithograph Edition of 300 76 x 92 cm (29.9 x 36.2 in) Signed and numbered on the front Mint, as issued