21st Century and Contemporary Still-life Prints

Artist Commentary: After a long, dark and cold Vermont winter, the longing for summer is strong. We dream of the first bloom of the bleeding hearts and the scent of peonies. Sometim...

Artist Commentary: The Key West Bound Series is about the insistent nature of Key West’s ability to adapt and thrive despite the continual barrage of hurricanes, weather patterns, a...

Artist Commentary: The Key West Bound Series is about the insistent nature of Key West’s ability to adapt and thrive despite the continual barrage of hurricanes, weather patterns, a...

Artist Commentary: The Key West Bound Series is about the insistent nature of Key West’s ability to adapt and thrive despite the continual barrage of hurricanes, weather patterns, a...

Artist Commentary: The Key West Bound Series is about the insistent nature of Key West’s ability to adapt and thrive despite the continual barrage of hurricanes, weather patterns, a...

Artist Commentary: My wedding series transform bouquets, lace, and other treasures into an art piece to last forever. Words that describe this piece: sunset, pink, orange, flower, ...

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...

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...

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...

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

18" x 24" Unframed Limited Edition Offset Lithograph of 1500 Signed by Marie Grabrielle

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...

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...

Includes a Certificate of Authenticity

C Print Photograph, signed on reverse available as 20"x30" edition of 5 This is from Stephen Mallon's series, "American Reclamation" which captures the abstract beauty within...

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

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 ...

Series: Indulgence Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of 3 + 2 Ar...

Series: Historical Fiction Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 22.5" x 30" 30" x 40" 45" x 60" 56" x 72" 63" x 84" Editions of ...

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...

Edition of 5. Tom Friedman’s conceptual practice uses expert craftsmanship to investigate the logics of perception and plausibility by playing with scale, humor and everyday objects...

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...

El Anatsui Variation I (B), 2014 Pigment print with hand collage and copper wire 23 x 30.2 inches (58.4 x 76.8 cm) Edition of 16

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...

This silkscreen with enamel inks and flocking on 2-ply museum board was created by the artist in 2012. Signed, dated and numbered in pencil, from the edition of 50.

Holiday Print Jonas Wood 9-color screenprint on Rising Museum Board 10.5 x 8" 2018 edition of 250 signed

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...

Best known for his paintings of cakes, pies, pastries, and toys, Wayne Thiebaud hadn’t planned on becoming a visual artist. He apprenticed as a cartoonist at Walt Disney studios and ...

Signed, dated, and numbered in pencil.

6-color screen print on Coventry rag paper 15.75 x 10 inches Edition of 300 Signed, dated and numbered on recto in pencil In originally packing and never removed.

This silkscreen with enamel inks and flocking on 2-ply museum board was created by the artist in 2012. Signed, dated and numbered in pencil, from the edition of 50.

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, ...

C-print on Endura metallic paper (Edition of 5) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Begun in 2003, the series of works collect...

C-print on Endura metallic paper (Edition of 5) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Begun in 2003, the series of works collect...

C-print on Endura metallic paper (Edition of 5) Signed and numbered, verso This artwork is offered by ClampArt, located in New York City. Begun in 2003, the series of works collect...

screenprint Signed and numbered in pencil by the artist edition of 50 Beautifully framed! provenance: The Nevica Project Jonas Wood (American, b. 1977) is a Los Angeles based-artist. His paintings are most notable for their reconsideration of the golden era of 20th century American painting, drawing fine comparisons to artists such as Edward Hopper. Linda Yablonsky from the New York Times Style Magazine has said that, “Wood has one foot in Modernist cool and the other in vibrant Pop Art.” He paints what is around him in daily life, from basketball players to living rooms, and tries to preserve the beauty he sees in these subjects and share it with the viewer. Jonas Wood was born in 1977 in Boston, Massachusetts. He graduated in 1999 from Hobart and William Smith Colleges, New York, and received his M.F.A. in 2002 from the University of Washington, Seattle. Murals and solo exhibitions include “Primitives: Chris Caccamise and Jonas Wood,” Cereal Art...

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

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...

A beautiful black and white etching on wove paper created by Donald Baechler in 2007, Untitled (I) is one of five individual prints that comprise the Five Flowers portfolio, each pri...

Blue Sonica Whisper