Contemporary Prints and Multiples

hand embellished canvas hand-signed and numbered by the artist edition of 95 Craig Alan is a contemporary artist renowned for his innovative and captivating "Populus" series, where ...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Richard Prince (American, b. 1949) Untitled (Black Bra), 2024 Medium: Digital pigment print on Hahnemühle Photo Rag paper Dimensions: 38 × 38.2 cm (15 × 15 in) Edition of 100: Hand-s...

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif & Salzer and is in the permanent collection of the Museum of City of New York...

large format photograph of glossy cherry red vintage private airplane on airport runway tarmac Red Jet by Frank Schott 48 x 74 inches (122 x 188cm...

Woodcut on rice paper Edition 4 of 15 48.5 x 20 cm (19 x 7.8 in) Signed and numbered on the front Mint. Minor undulation due to nature of the paper Printed at the Adachi Foundation, ...

Swim Stop – Large print by Gordon Hunt [2020] Image Size: H:60 cm x W:60 cm Complete Size of Sheet/ Unframed Work: H:70 cm x W:70 cm x D:.1cm This is the only size remaining of thi...

Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

Ochre Composition is an original artwork realized by Luigi Montanarini in the 1970s. Original colored serigraph on paper. Hand signed by the artist on the lower left. Numbered on lo...

Screenprint in colours with metallic silver on wove paper Edition of 150 (85 x 104.14 x 5.3 cm / 33.5 x 41 x 2 in) Signed and numbered on the front Condition on request Framed with a...

BROTHERS is an original hand drawn lithograph by the Argentine artist, Aldo Luongo. Printed in 1975 at Circle Gallery NYC using traditional hand lithography methods on archival Arche...

Kiki Smith Tattoo Print, 1995 Silkscreen and ink transfer on wove paper Signed, dated 1995 and numbered 96/100 in graphite pencil on the front Another example of this edition is in t...

Screenprint Edition 62 of 120 40 × 32.5 cm (15.8 x 12.8 in) Signed, titled, dated and numbered on front Artwork in excellent condition. Minute imperfections may appear due to the age...

This contemporary embossed white mono print was inspired by nature. Canadian artist Susan Collett is a masterful printmaker and an award-winning ceramic artist whose work is collect...

PARIS OPERA ORIGINAL VINTAGE FRENCH TRAVEL POSTER AFTER MARC CHAGALL Marc Chagall (1887-1985) was a pioneering Russian-French artist, ...

A limited edition woodcut on paper print by Mychael Barratt of Vincent Van Gogh in his bedroom with his dog. Sunflowers appear in the background, brightening up a blue and purple room. Additional information: Mychael Barratt  Once upon a time in London, Morning Woodcut on paper Signed and titled in pencil Numbered from the edition of 100  Image size Height: 27.5 cm Width: 27 cm Complete size of sheet Height: 39.6 cm Width: 37.5 cm Depth: 0.2 cm ARTIST PROFILE: Mychael Barratt was born in Toronto, Canada, however, considers himself to be a Londoner since arriving for what was supposed to be a two-week stay thirty years ago. He is a narrative artist whose work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves. He was an artist in residence for Shakespeare’s Globe Theatre...

"Pearl Jam Seattle 2021 Streaming Event" Wood Edition by Ian Williams Discover the rustic charm of "Pearl Jam Seattle 2021 Streaming Event" by acclaimed artist Ian Williams. This uni...

Royal Academy Exhibition Poster (4) By David Hockney David Hockney is a British painter, draftsman, and photographer celebrated for his vibrant depictions of California swimming po...

'Telephone VII' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography featuring a vintage telephone on a nightstand combines gorgeous pastel c...

MECKLENBURG AUTUMN is an original limited edition color lithograph printed using traditional hand lithography methods on archival Arches printmaking...

22 Colour Screenprint with Varnish Overlay on Somerset Tub Sized 410gsm Paper Edition 47 of 125 76 x 56 cm (29.5 x 22 in) Signed, numbered and dated on the back Mint. Minor imper...

Vicky Oldfield Day Dreaming Limited Edition Collograph Print Edition of 30 Image Size: H 10cm x W 10cm Sheet Size: H 17.5cm x W 17.5cm x D 0.1cm Sold ...

Offset lithograph Unsigned 11.02 x 16.54 in (28.0 x 42.0 cm) This is a vintage artist-authorised David Hockney poster print, printed in 1993. This is not a later reproduction. The ...

THE HAWK is an original hand drawn lithograph by the Argentine artist, Aldo Luongo. Hand printed at Circle Gallery NYC using traditional lithography methods ...

David Koppel served his photographic apprenticeship in the rough-and-tumble world of the Fleet Street paparazzi in 1980’s London when his skills captured the very essence of the Me Decade that gave birth to the celebrity culture of today. Koppel’s classic photographs of Frank Sinatra, Marlon Brando, Jack Nicholson, the Rolling Stones, David Bowie, Paul McCartney, Eric Clapton & the Royal Family appeared in every major newspaper and magazine and marked him out as that rarity amongst press photographers: the artist with a camera. Building on the reputation gained through the photographs for the book Still Waters, his black-and-white portraits of ordinary people now rank among the many famous names in his portfolio. Koppel also went one better and in 2002 bought the St Giles St Gallery , bringing the best of local and international contemporary art and photography to Norwich, including the works of Sir Peter Blake, Terry O’Neill, David Bailey, Maggie Hambling, Storm Thorgersson, Tim Woolcock...

This is an original Murakami print. Sold unframed. Brand new. Handsigned and numbered out of 300 editions. Buyer protection by both 1stdibs and gallery. LAST ONE - one of the iconic...

Cloudy Day Prairie II, by John Hogan, New Mexico Landscape Color Etching, blues edition 13/50 matted and framed John Hogan A graduate of Northeast Louisiana State University with a...

Through The Ages by Toko Shinoda, black and white signed lithograph calligraphy 11/35 obituary published by CNN March 2021 Celebra...

Printer's Proof Edition Number /5. Beryl Cook's appeal was classless and she rapidly became Britain’s most popular artist. She was a ‘heart and soul’ painter, compelled to paint wi...

Artist: Janet Fish, American (1938 - ) Title: Apples and Zinnias Year: 1995 Medium: Lithograph on Japon paper, signed and numbered in pencil Edition: 65 Imag...

Although best known for his portraits, Katz has depicted landscapes both inside the studio and out of doors since the beginning of his career. This print of a boat on the water feat...

Damien Hirst H13-5 Exmouth Esplanade, 2023 Laminated Giclée print on aluminium composite panel. Hand-signed on the label and numbered. This artwork can be hung any way up. 90 x 90 xm...

David Hockney, Nichols Canyon, 1980 Colour giclee poster on 230 gsm paper 62 x 95 cm (24.40 x 37.40 in) Based on the original painting, Nichols Canyon, 1980. Produced for Hockney's...

Untitled is a contemporary artwork realized by Aldo Turchiaro. Black and white etching. Includes frame. Hand signed and numbered on the lower margin. Edition of IV/XXV

Alex Katz (b. 1927) Untitled, from the portfolio 'A Tremor in the Morning', 1986 Woodcut on wove paper Edition 32/45 Signed and numbered in pencil lower left Sheet: 20 x 19.75 inches...

Screenprint in colours on BFK Rives wove paper Edition 94 of 100 50.6 x 50.6 cm (20 x 20 in) 65 x 65 x 3 cm, 25.5 x 25.5 x 1.2 in Signed and numbered on the back Artwork in excellent...

David Gilhooly (1943-2013) How To Make Jackson Pollock's Dog, 1988 Lithograph on BFK Rives Paper Edition 47/60 Signed and dated in pencil lower right Published by Magnolia Edition (M...

Paper Size: 12.25 x 34 inches ( 31.115 x 86.36 cm ) Image Size: 12.25 x 34 inches ( 31.115 x 86.36 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age...

hand pulled limited edition lithograph signed and numbered by the artist Glenn Green Galleries also presents paintings, prints and sculpture by Southwestern luminary, DAN NAMINGHA....

This original poster was created by Chinese-American New Yorker T.F. Chen for the Statue of Liberty Centennial in 1986. Chen’s signature use of vibrant, bold colors forms the backdro...

Calder Exhibition Poster is an original artwork realized by Alexander Calder in 1976 Mixed colored serigraph. Fair conditions with some tears along the margin. This beautiful and ...

This piece titled "La Mer VE 1/8" is a variable edition piece by Kate VanVliet and is made from two-plate intaglio with drypoint, aquatint, and soft ground on Rives BFK. This piece i...

Gorgeous Banksy Monkey Parliament lithograph. Released at Banksy’s exhibition Banksy vs. Bristol Museum in 2009. The original tube that this artwork came in from the museum when pur...

KAWS SHARE (Grey), new & unopened in its original packaging. KAWS SHARE first appeared in 'BLACKOUT' – the first London solo exhibition by KAWS (Skarstedt London 2019). In SHARE, KA...

This is an original Murakami limited edition offset print, signed and numbered. This beautiful print has a silver sheen (contrasting texture from the flower prints) interspersed amid...

Andy Warhol/Jean Michel Basquiat: Original Paintings Exhibition Poster, 1985: 'Palladium Presents Warhol and Basquiat'. The rare original, highly sought-after companion piece to the...

Baie Des Anges after Marc Chagall 1962 Stone lithograph 39 2/5 × 26 in 100 × 66 cm

LA Parking by Frank Schott a burst of red in an urban landscape of striking minimalism from a series of photographs capturing the mid century modern architecture and architectural el...

#38256, 28 August, Ariel color photograph, limited edition, signed ATACAMA: Renewable Energy and Mining in the High Desert of Chile CHANGING PERSPECTIVES: Renewable Energy and the Shifting Human Landscape is a long-term aerial and ground-based photography project documenting global renewable energy development. Chile is the world's leading copper exporter and the second-largest lithium producer. We use Chilean copper...

Signed, titled, and numbered from the edition of 15. Image of a young girl with a crown and brooch. While the images have some resemblance to traditional Japanese Ukiyo-e prints, the...

Donald Sultan's 'Seven Blues Jan. 24, 2024' is a masterful color silkscreen featuring enamel inks, flocking, and tar-like textures, limited to an edition of 30. Donald Sułtan Seven...

Bob Dylan Sidewalk Cafe, 2011 Giclee on Hahnemuhle 350gsm Museum etching paper hand-signed and numbered by the artist Framed: 85 x 68 cm Sheet: 70 x 56 cm Image: 54.5 x 40 cm Edition...

Artist: Sultan, Donald Title: Six Greens Date: 2006 Medium: Screenprint in colors on Somerset paper Unframed Dimensions: 30.5" x 38.5" Framed Dimensions: 33.75" x 42" Signature...

Artist: Slonem, Hunt Title: Peach Bunnies Series: Bunnies Date: 2017 Medium: Lithograph on Paper Unframed Dimensions: 24" x 16" Framed Dimensions: 29" x 22" Signature: Signed...

Takashi Murakami: Kaikai Kiki Homage to Francis Bacon (Study of George Dyer), 2004 Immerse yourself in the dynamic world of contemporary art with this remarkable piece by Takashi Mu...

Etching in colors on vélin de Lana Royal paper. Paper Size: 11.93 x 9.81 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Heart of Darkness, 1992. Publ...

'J' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

These are the silhouettes of the native Californian Matilija Poppy also known as giant tree poppies and Coulter's Poppy. They grow over 4 feet tall and appear each year in summer. Al...

Flight Path By Rob Barnes The inspiration for this came from looking across a poppy field and seeing pheasants taking flight. Where I live we are surrounded by fields full of wildlife and have pheasants visiting the back garden. I love the time of year when there are swathes of poppies to be seen. They make such a bright red statement...

Ai Weiwei “Forest (1977)”, 2024 Limited edition offset lithograph print Edition of 200 Hand-signed by the artist Published by Damocle Edizioni, Venice, 2024 Each edition comes with...