Board Still-life Prints

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...

Screenprint in colours, 1998. From 'Meine Kindheit - Schmerz und Heilung, UNICEF'. Signed in pencil, numbered from the edition of 100. Image: 63.5 x 54.5 cm Sheet: 78.8 x 70 cm

Kansei: Like The River's Flow 2010 by Takashi Murakami Offset print, cold stamp and high gloss varnishing with silver ink signed, numbered and stamped by the Artist 27 7/8 in diamete...

Lowell Nesbitt Rust Iris - 1979 Screen print on Arches archival paper    29'' x 29'' inches Edition: Signed in pencil, dated and marked 151/175 Lowell Nesbitt emerged as one of the ...

James Rizzi, American (1950 - 2011) - Passion Fruit, Year: 1989, Medium: Screenprint on BFK Rives, signed, numbered and dated in pencil, Edition: PP, Image Size: 28 x 20 inches, ...

Jim Dine Metropolitan Opera Centennial 1883-1983 poster, 1983 Offset lithograph poster; unsigned 46 × 29 inches Unframed This limited edition poster was pu...

Richard Bernstein Ruby - 1978 Print - Silkscreen on Heavy Paper Paper : 30'' x 26'' inches image size : 28" x 23 ½" inches Edition: Signed in pencil, titled, dated and marked 130/200...

The Most Important Film Ever Made, 1972 Color screen print and collage, from the edition of 70. 15 x 17 in 38.1 x 43.2 cm Published by the artist with Marlborough Graphics at the Kelpra studio in 1972. This work is also in the collections of TATE London and the Victoria & Albert Museum. the price reflects the fact that there is no backing page. Stylistically, these are hybrid works, influenced by Pop art and the modernist tradition of the Readymade, a work of art created when a mundane found object is named as an artwork and set in an art context. This avant-garde concept was originally invented by the Dada master Marcel Duchamp early in the twentieth century. In the 1960s it received renewed attention at a time when artistic norms were again being questioned. Reacting to Andy Warhol’s Pop imagery, Kitaj poignantly called his repurposed lithograph and silkscreen book covers “his soup can, his Liz Taylor.” The blatant use of images taken directly from commercial sources situates In Our Time as a precursor of appropriation art. In turning book covers into works of art, Kitaj is offering fragments of a history of knowledge, in which the content of each volume is at once mysterious and absent. Coming from this passionate bibliophile, the series is nothing less than an intellectual self-portrait. R.B. Kitaj, in full Ronald Brooks Kitaj . Ron Kitaj...

Screen print on wove paper. Hand signed lower right by Tom Wesselmann. Hand numbered 10/82 lower right (there were also 8 artist's proofs). Sheet size: 39.12 x 27.5 inches. Frame...

Hand titled, dated, initialed and numbered by the artist. From the Fruits and Flowers suite. Sheet size 23 x 22 inches. Image size 12 x 12 inches. Frame size approx 31 x 30 inches. A...

Don Nice New York, New York (hand signed and inscribed by Don Nice), 1984 Rare offset lithograph poster (signed and inscribed from Don Nice to Dick Polich) Signed and inscribed in gr...

Alex Katz (after) Day Lilies (Hand Signed and Inscribed by Alex Katz), 1992 Large silkscreen poster on wove paper Boldly signed, inscribed and dated on the lower, right front in blac...