Oversized Still-life Prints

"Silent Reality Everywhere" Print 53" × 40" inch Ed. 1/10 by Kate Garner Signed and numbered by the artist. Not framed. Ships in a tube. Kate Garner is an English photographer, fine artist, and singer. Garner has photographed a wide range of musicians and celebrities, including Dr. Dre, Leigh Bowery, JT LeRoy, Angelina Jolie, Cate Blanchett, Anne Hathaway, David Bowie, Cameron Diaz, PJ Harvey, John Galliano, Björk, and Kate Moss. Her work has appeared in the American and British versions of Vogue and Harper’s Bazaar as well as W magazine, Interview, GQ, Vanity Fair, Elle, and The Sunday Times. Kate Garner was expelled from high school at the age of 16 and became a runaway who joined The Children Of God. To escape the grasp of the cult she hitchhiked from London through Eastern Europe to India in 1970, where she lived for a year as a traveler before being located by her parents. She attended art school at Blackpool in the North of England and later moved to London, where she began to both photograph and model for up-and-coming magazines such as The Face and i-D. Kate Garner first came widely into the public eye as one-third of the 1980s avant-garde, new wave pop project Haysi Fantayzee, along with other members Jeremy Healy and Paul Caplin. Emanating from street art scenes such as the Blitz Kids that were cropping up in London in the early 1980s, Haysi’s music combined reggae, country, and electro with political and sociological lyrics couched as nursery rhymes. Catapulted to stardom by their visual sensibilities, Haysi Fantayzee combined their extreme clothes sense – described as combining white Rasta, tribal chieftain, and Dickensian styles – with a quirky musical sound comparable to other new wave musical pop acts of the era, such as Bow Wow Wow...

"Blue Vase with Stonehenge Face: Tulips & Lilies" is a Giclee print on watercolor paper signed and dated in the lower right hand corner. Image: 89.75" x 35.62" Framed 99" x 45" David Barnett, an artist, collector, appraiser and gallerist has been passionate about art from the early age of five. David’s career as an art dealer began at age nineteen when, as a fine arts student, he sponsored an exhibition of work by fellow student artists. In 1966, he opened his first gallery in a converted basement apartment at Wisconsin Avenue and 21st Street. In 1985 David moved his gallery from Wisconsin Avenue into the Old Button Mansion on State Street and has been active ever since. David’s talents for recognizing undervalued artists and for meeting the needs of art lovers, art collectors and artists have created a vibrant, flourishing gallery and collection of over 6,000 works of art. David was born and raised in Wisconsin. He has been painting in watercolors, acrylics, oil pastels as well as fine art photography. David has more than 10 different series he has developed over the years. They include Abstract, Surrealism, Morph Dog, Up North Birch Bark, Impressions of Mexico City, Southwest, Fireworks, Famous Artist Paying Homage and Garden Panorama. Influential artists include Vermeer, Miro, Kandinsky, Chagall, Nolde and Klee. David has been featured in many magazines, newspapers and public television programs regarding his beautiful gallery, collection and knowledge and passion of fine art. David also has work in the permanent collection Scottsdale Museum of Contemporary Art, Arizona. In November 2005, he opened his second studio gallery in Hartland, Wisconsin. Exhibits “Morph Dog Series”, David Barnett Gallery, 1996 “Renewal", Art Escape Gallery, Thiensville, WI, 2003 “Recent Watercolors", David Barnett Gallery, 2003, Lora D. Art Gallery, Chicago, IL, 2004 “Group Show”, Broden Gallery Ltd., Madison, WI, May-June 2004 "Homage to Kandinsky", David Barnett Gallery, Milwaukee, WI 2014 Collections Scottsdale Museum of Contemporary Art, Scottsdale, AZ Private collections throughout the United States and around the world including collections in Wisconsin, Maryland, New York, Washington D.C., Arizona, Illinois, Florida, Kentucky. International collections in Brazil, Singapore and Hong Kong. Articles Milwaukee Journal Sentinel, "Barnett Gives His Work an Exhibit" by James Auer, November 1996 Exclusively Yours...

Medium: Lithograph, Signed: No Poster Size: 26 in x 47 in Frame Size: 28 in x 49 in Framing Options: Available in Black, White, and Natural Frame *framed to the edge of the paper. R...

Chromaluxe Price includes a black contemporary tray frame. In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration ...

43" x 18.5" Unframed Limited Edition Giclee Artist Proof of 95 Hand Signed by Thomas Arvid

Hamburger, Jorg/Georg Staehelin. Kunstoff-Objekte 1860-1969, 1984 " Offset.

23" x 43" Unframed Limited Edition Giclee of 195 Hand Signed by Thomas Arvid

This work of art is not a photo and not a painting, Joe Doyle, who passed away this year, was a digital master that created this image in which he uses digital mapping and his exten...

21" x 43" Unframed Limited Edition Giclee Artist Proof of 75 Hand Signed by Thomas Arvid

Screenprint in colors on wove paper. Hand signed and numbered by the artist. HC Edition 6 of 12, the total edition was 90. Published by International Images, Putney, Vermont. Sheet...

28" x 42" Unframed Limited Edition Giclee of 295 Hand Signed by Thomas Arvid 28" x 42" Unframed Artist Proof of 185 Hand Signed by Thomas Arvid 28" x 42" Unframed Limited Edition Giclee on Metal...

Wind and Lightning (State I) is an aquatint etching with pochoir on paper, 22.75 x 39.75 inches, signed 'James Rosenquist' and dated 1978 lower right; numbered 19/78 and titled lowe...

Cliff Hanger (State II) is an aquatint etching on paper, 22.75 x 39.75 inches, signed 'Rosenquist' and dated 1978 lower right; titled in the image lower left, numbered 68/78 and ann...

Screenprint on heavy wove paper. Hand signed and numbered by the artist. HC edition of 12 (there was also a main edition of 100). Published by International Images, Putney, Vermont....

Still Life – But Not as We Know It 5 is one of a series of 12 unique color variations of this title. The digital pigment print with diamond dust on canvas is signed and titled on the...

Archival pigment print, 2021, on Innova Etching Cotton Rag 315 gsm paper, signed in pencil, numbered from the edition of 100, Lococo Publishing, Missouri, 119 x 86 cm. (46¾ x 33¾ in.)

"Morph Dog Series: Morph Dog Fireworks Bouquet Vertical Variation" a giclée print of an original watercolor painting by David Barnett. The print is signed in the lower right by the a...

Nick Veasey 'Christian Louboutin' Pigalle Follies 1c1s 33 x 47 inches Edition 9 Digital C print Diasec Framed Signed and numbered Also available in ...

Nick Veasey Boombox 47 x 47 inches Edition 9 Digital C print Diasec Framed Signed and numbered Also available in the following size 23 x 23 inches / Edition 25 Nick Veasey X ray Art...

Forager Series: 18042, 9/2016, Print by Lisa Stefanelli, 2016 Additional information: Medium: Digital aided material printed on aluminum with floating mount Dimensions: 24 × 77 in E...

Created by Donald Sultan in 2024, Blue Poppies is an archival pigment print on fine art paper measuring 42 x 57 in. (107 x 145 cm), unframed. The artwork is hand-signed in pencil, ti...

Created by Donald Sultan in 2024, Yellow Poppies is an archival pigment print on fine art paper measuring 42 x 57 in. (107 x 145 cm), unframed. The artwork is hand-signed in pencil, ...

Created by Donald Sultan in 2024, Green Poppies is an archival pigment print on fine art paper measuring 42 x 57 in. (107 x 145 cm), unframed. The artwork is hand-signed in pencil, t...

Created by Donald Sultan in 2024, Red Poppies is an archival pigment print on fine art paper measuring 42 x 57 in. (107 x 145 cm), unframed. The artwork is hand-signed in pencil, tit...

Created by Donald Sultan in 2024, Seven Silvers is an original screenprint in colors with enamel inks, flocking, and tar-like texture on Rising 4-ply museum board. Measuring 58 x 58 ...

Created by Donald Sultan in 2024, Seven Blues is an original screenprint in colors with enamel inks, flocking, and tar-like texture on Rising 4-ply museum board. Measuring 58 x 58 in...

Roy Lichtenstein Apple and Lemon, 1983 is an excellent example of the artist’s later work. Lichtenstein largely abandoned his famous comic strip pan...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...

Other sizes and price on request. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contemporary artists...

Versailles II, Francia 2003. Other sizes an framing on request. PREISS FINE ARTS is one of the world’s leading galleries for fine art photography representing the most famous contem...

Technical Information: James Rosenquist While the Earth Revolves at Night 1982 Pastel and pencil on paper 36 1/2 x 72 1/4 in. Unique Signed, dated, and titled Additional Technical ...

Screenprint with diamond dust, 1980, on Arches Aquarelle (Cold Pressed) paper, signed and numbered in pencil, verso, from the edition of 60 (there were also 10 artist’s proofs), printed by Rupert Jason Smith...

Untitled (Flag), 2013 Archival pigment print 26 1/4 × 43 in (66.7 × 109.2 cm) Edition of 36

Artist: Roy Lichtenstein Title: The Oval Office (C. 277) Year: 1992 Medium: Screenprint on Rives, signed, dated and numbered in pencil Edition: 17/175 Image: 30 x 39.25 inches ...