Large Still-life Prints

You have read about the extraordinary donut portraits by Candice CMC on social media world-wide and we are excited and proud to represent her work. I have included in this listing a...

32" x 38" Unframed Limited Edition Giclee of 195 Hand Signed by Thomas Arvid

Screen print in colors on paper. Hand signed and numbered lower front by Romero Britto. Edition of 125. Frame size approx 37 x 37 inches. Image size 24.75 x 24.75 inches. Certifi...

Diasec® mounting is a time proven system that has set the benchmark for face mounting photographic and fine art prints. Developed in the late 1960’s Diasec® was the first system that...

From Les Diners De Gala. Photo lithograph with a separate original engraving titled Spoon on Crutches. Hand signed by Salvador Dali. Hand numbered 170/395. Frame size approx 29 x ...

36" x 36" Unframed Limited Edition Giclee Artsit Proof of 135 Hand Signed by Thomas Arvid

Chromaluxe supplied with subframe ready to hang 60 x 73 cm on Paper for 1,400 In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, sinc...

TISSOT, JAMES JACQUES JOSEPH (1836 -1902) L’enfant Prodigue: Frontispice (The Prodigal Son: Frontispiece) Wentworth 57 Etching, c. 1882 Signed and dated in the plate lower rightIma...

Artist: Paul Sarkisian, American (1928 - ) Title: Trash Can (From Documenta, The Superrealists, New York) Year: 1972 Medium: Lithograph, signed and numbered in pencil Edition: 300 P...

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 /...

Chromaluxe supplied with subframe ready to hang. Also available in 60 x 73 cm on paper for £1400 In 2009, Hugh was appointed the first Artist in Residence for The British Institut...

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

Artist Commentary: I love the crooked elbow of the palm on the left. Most of the time, I find my paths in life are more wonky than straight. Words that describe this piece: palm tre...

32" x 40" Unframed Limited Edition Giclee Artist Proof of 95 Hand Signed by Thomas Arvid

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

Flower bouquet design. Sealed on the back with the design studio name and number 484 We offer a small number of these original illustration designs by this design studio based in Al...

A large colorful still life by an Israeli artist whose work is a contemporary interpretation of a classical theme. This work is framed in either a gold wide or gold narrow frame.

Acrylic and concrete high-rendered print on aluminum, using LITO Hi-Rnd technology. Hand signed on label attached on verso by Donald Sultan. Hand numbered 12/20 on label attached ...

Serigraph on paper. Hand signed, titled and numbered by the artist. From the edition of 465. Artwork is in excellent condition. Certificate of Authenticity included. All reasonab...

Chagall, Marc. BOUQUET DE NUIT. Mourlot 693. Lithograph, 1973. Edition of 30. Numbered and signed in pencil. 25 1/2 x 18 3/4 inches, 647 x 476 mm. (image); 34 3/8 x 25 1/4 inches, 87...

Charles Pachter (b. 1942) is one of the most collected and cherished Canadian artists. His iconic, uplifting, and patriotic images have independently earned their place in the nation's museums and the Canadian art canon. The barn, along with Queen Elizabeth and the Moose, forms a triad of icons that Charles Pachter has repeatedly visited over the course of his career. Playful and a touch irreverent, Pachter's charming imagery presents a new narrative on Canadiana. The artist’s vast body of work includes painting, sculpture, printmaking, and drawing. Pachter’s works are widely sought-after and are an ideal selection for starting or continuing a collection of 20th-century Canadian art. Pachter's confident colors, sharp lines, and graphic qualities are instantly recognizable and continue to be a mainstay throughout his oeuvre. Here with an image of the classic TTC (Toronto Transit Commission) streetcars, this work epitomizes Pacther’s version of Canadian Pop Art...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

In John Kato's "Alpine Lodge", a picture of a cabin nestled among pine trees at dusk encapsulates the endeavor to capture and preserve a cherished memory of ...

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

24" x 40" Unframed Limited Edition Giclee of 295 Hand Signed by Thomas Arvid 24" x 40" Unframed Artist Proof of 185 Hand Signed by Thomas Arvid 24" x 40" Unframed Limited Edition Giclee on Metal...

Combining the organic with the technical, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts a plough against a background of graphing squares. The plough appears as if in wate...

Forager Series: 18042, 11/2016, Print by Lisa Stefanelli, 2016 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 36 × 36 in ...

Forager Series : 18042, 1/2017, Print by Lisa Stefanelli, 2017 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 24 x 40 in ...

Jasper Johns (American, b. 1930) Souvenir I, 1972 Lithograph in Colors on Angoumois a la Main Paper Hand-signed Lower Right Numbered 20/63 and Stamped Lower Left 38.5 x 29.5 inches 3...

M (ULAE 113), 1972 Jasper Johns (American, b. 1930) Lithograph in Colors on Angoumois a la Main Paper Hand Signed and Dated Lower Right Numbered 56/67 Lower Left 38.5 x 29 inches 39....

Dionisios Fragias is a New York -based artist born on the Greek island of Kefalonia and raised in New York City. He is the protege of the artist Jeff Koons whose years-long mentorshi...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

Created by the artist in 2002, Six Yellows is a screenprint in colors with flocking on wove paper. Hand-signed, titled, dated, and designated as "BAT 1/2" from the edition of 60 + 2 ...

Artist: Charles Bell Title: The Viking Year: 1994 Medium: Silkscreen on Bristol Rag Museum Board, Signed and numbered in pencil Edition: 2/50 Image: 24 x 34...

TECHNICAL INFORMATION Alex Katz Yellow Flags 3 2020 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 33 x 22 in. Edition of 15...

From 'Glass Wishes'. Signed, titled and dated in pencil. Numbered from the edition of 59. Printed and published by Gemini G.E.L., Los Angeles.

Signed, numbered and dated by the artist, a unique variant from the edition of 100. Printed on Somerset 300 gsm Velvet paper by Paupers Press, London. Published by Counter Editions, ...

Hand-Signed and dated Lower Right Original screenprint poster in yellow, red, blue an black on white wove paper. Designed by the artist for a traveling exhibition for the Saint Lou...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

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...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. 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...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Andy Warhol Flowers (FS II.70), 1970 silkscreen on paper 36 x 36" ed. of 250 signed in ball point pen and numbered with a rubber stamp on verso

Blue Sonica Whisper

Born in Fort Plains, N.Y., Mark Adams (1925 - 2006) went on to attend Syracuse University, but left before graduation to study abstract art in New York with...