Plexiglass Still-life Prints

This elegant work by Fidel Santos captures a delicate antique Renaissance wood carving of white lilies. Despite the visible signs of aging—cra...

This photograph captures the timeless beauty of an aged 18th-century Italian fresco painting. The artwork features potted orange trees, their vibrant green foliage and citrus fruits providing a striking contrast. Set against the backdrop of an expansive Italian countryside, the landscape unfolds with rolling hills and distant vistas. The significance of the orange trees in the fresco is deeply rooted in the historical context of 18th-century Italy. During this period, the cultivation of citrus fruits, including oranges, became a symbol of prosperity and luxury. Italy, with its favorable climate, was a prime location for cultivating oranges, and their presence in frescoes often represented affluence, abundance, and the beauty of the Italian landscape. Fidel Santos...

This work, by Fidel Santos, depicts a Pompeiian fresco resplendent with lush fruit trees and avian life against a backdrop of idyllic hills. The vibrant c...

"Seasons: Cycles Unveiled," poignantly captures the essence of life's transience through a symbolic composition. At the center of the canvas rests a meticulously rendered skull, an e...

CocaXploid 2019 From “Coca-Cola Series” project CM 90x120x2,8 Print run 6+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 ink, ple...

WARHOLIANCOKE 2019 From “Coca-Cola Series” project CM 90x120x2,8 Print run 2/6+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 in...

This work emerges as a testament to the enduring beauty that blossoms amidst challenging times. Lush roses, tulips, and peonies grace the canvas, symbolizing resilience and hope. Wit...

This minimalist still life painting unveils a captivating scene, featuring a vase filled with vibrant roses and tulips, complemented by two oranges and a stack of books on a table. A...

In this thought-provoking still-life work, the artist skillfully intertwines historical narratives with contemporary realities. Inspired by the infamous tulip fever in the Netherland...

"Floral Symphony in the Art Deco City" is a captivating still life composition where the artist seamlessly merges the timeless allure of nature's blooms with the elegant essence of t...

This stunning work presents a captivating still life composition featuring a single high heel shoe crafted from reflective silver leather, accentuated by a striking red sole. The sho...

The artwork depicts a mesmerizing still life composition centered around a rare and coveted crocodile skin handbag adorned with exquisite gold hardware. Placed in front of a window o...

This mesmerizing still life composition featuring a single high heel shoe adorned with reflective gold crocodile skin and a solid gold heel. Positioned meticulously, the shoe basks i...

Artist: Andy Warhol (American, 1928-1987) Title: "Peaches" Portfolio: Space Fruit: Still Lifes *Signed by Warhol in felt pen lower right Year: 1979 Me...

GOLDEN TJOY 2019 From “Sexy Golden fruit" project Measurement: CM 90x120 Print run 2/6+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChr...

JELLY FISH 2019 From “The Transience of life” project CM 120X90 Print run 9+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 ink, ...

JUICY VISION 2019 From “Sexy pop fruits” project CM 120X90 Print run 2/7+2PA Digital Photography Fine Art Print on Canson Infinity Platine Photo Rag , Epson UltraChrome K3 ink, plexiglass on alluminium dbond 3mm Each limited edition original photograph is printed in Italy under artist supervision in strictly limited edition (7 + 2PA), signed and certificated by the artist More sizes within the edition 7 + 2PA: CM 80x60 (plexiglass on alluminium dbond 3mm) CM 40X30 (unframed, in design folder) Sexy Golden Fruit celebrates the classic symbolism linked to food in a gold version and transforms the art of good food into pop art. The images of the Sexy Golden Fruit project are inspired by classic art with pop-style interpretations of fresh fruit and vegetables painted in gold. The classic iconography of the “natura morta” has always been a stratagem to deal with the sexual and sentimental sphere: in fact, since the Middle Ages, we have numerous examples in history of the erotic life through the use of food which, today as then, is an element of everyday life. Catullus also wrote innumerable poems on food as a metaphor for the sexual sphere. A perfect cultural liaison: elements of the artistic and culinary tradition, intrinsic to a latent and profoundly pulsating feeling in living within each one of us "."Sexy Golden Fruit Series", where "the iconographic references are a mere starting point for a desecration practised paradoxically by painting the fruits in gold, with an overbearing allusion to the sexual metaphor that belongs since antiquity to the painting genre. Once again, if photography often wearily insists on a pleonastic exercise of hyper-realism that is inherent to the medium, it applies a sort of hyper-anti-naturalism. These fruits are above all thought-provoking, bold icons”. “Monica Silva...

Screen printed vacuum-formed plexiglass multiple in colors mounted to a card support. Artist signature, date and edition lower left front. Edition 12/101. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: Tom Wesselmann (1931–2004) was an American Pop artist best known for his collages, sculptures, and screenprints that stylized the female figure. Often isolating segments of the body—red lips with a cigarette, a single nipple, or a stylish shoe—his artworks aim was to seize a viewer’s attention. “The prime mission of my art, in the beginning, and continuing still, is to make figurative art as exciting as abstract art,” he once said of his work. Born on February 23, 1931 in Cincinnati, OH, he was drafted into the US Army to serve in the Korean War in 1952. Returning home after the war, he studied drawing at the Art Academy of Cincinnati before working as an illustrator of comic strips and men’s magazines...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: Social concern, responsibility and the notion that provocative issue...

ABOUT THIS PIECE: 19.6x23.5, edition of 50 — FACEMOUNTED TO PLEXI This piece is available face mounted to plexi glass giving a modern, durable, and sleek finish. Every print is fully authenticated with a signed and numbered Certificate of Authenticity. This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden phot...

ABOUT THIS PIECE: 23.5x19.6 (edition of 50) – AVAILABLE FACEMOUNTED TO PLEXI ONLY This piece is available face mounted to plexiglass giving a more modern, durable, and sleek fin...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: The Velveteen Rabbit by Margery Williams was one of my favorite boo...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: The Velveteen Rabbit by Margery Williams was one of my favorite books...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of...

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...