Pop Art Prints and Multiples

Richard Mock, American (1944 - 2006) - Anvil, Year: 1986, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 40, Image Size: 13 x 9.5 inches, Si...

Richard Mock, American (1944 - 2006) - Ban Landmines, Year: 1997, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 14.25 x 13....

Richard Mock, American (1944 - 2006) - Channel Cat, Year: 1999, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 10 x 16 inche...

Richard Mock, American (1944 - 2006) - Hate Crimes, Year: 1999, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 19.25 x 15.75...

Richard Mock, American (1944 - 2006) - Homeless, Year: 1988, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 16 x 18 inches, ...

Richard Mock, American (1944 - 2006) - Rotten Apple, Year: 1987, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 17 x 17 inch...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Bob Gruen, American (1945 - ) - John Lennon - Peace & Freedom, Medium: Portfolio of 5 Original Screenprints, each signed and numbered in marker, Edition: LXIV/LXX, Size: 39 x 29.7...

Artist: Peter Max (1937) Title: Sailboat on Horizon Year: 2000 Edition: 442/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 2.75 x 3.125 inches Condition: Excellent ...

Michael Knigin, American (1942 - 2011) - Giraffe in Space, Year: circa 2003, Medium: Chromogenic Print on Canvas mounted to foam board, Size: 45 x 72 in. (114.3 x 182.88 cm), Frame ...

Plastic Jesus is a Los Angeles based street artist that specializes in bold stencil and installation work, inspired by world news events, society, the urban environment, culture and ...

**ANNUAL SUPER SALE UNTIL MAY 15th ONLY** THIS PRICE WON'T BE REPEATED AGAIN THIS YEAR - TAKE ADVANTAGE OF IT** Celebrating human's best friend with this unique and beautiful series...

This Blue Dog work consists of a black background with a blue bear with soulful yellow eyes adorned with yellow flowers and a yellow background with a blue dog with soulful yellow ey...

Girls Just Wanna Have Fun! by B A T I K signed limited edition POP ART print Paper Size Oversize 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print Limited to 10 only Featuring police arrest mugshot photos of Anna Nicole Smith, Heather Locklear...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Suites nº8, Rencontres, 1964. Published...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

"Pravda la Survireuse" emerges as an experimental comic strip created in Paris by the Belgian artist Guy Peellaert. Serialized from January to December 1967 in the monthly magazine H...

Heidler and Heeps Vinyl Collection 'Press Conference Cobalt Blue'. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully ...

Heidler & Heeps Vinyl Collection Sixteen Piece Multi-color Square Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this...

Fun Loving Criminals By B A T I K Signed Limited Edition Archival pigment pop art print of infamous criminal arrest mugshots of Fifty Cent, Elvis Presley, David Bowie, Snoop Dogg...

Jim Dine's exhibition at the Kunsthalle in Bern, Switzerland in 1971 was a significant moment in his artistic career. The exhibition featured a notable poster titled "Saw," which bec...

Charles Uzzell-Edwards aka 'Pure Evil' (*1968), John F. K.'s Nightmare, c. 2010. Color serigraph, 35.4 x 25 cm, signed in pencil lower right with artist's name and artist's signet, i...

Artist: (after) Jim Dine (American, 1935-) Title: "Nassau County Museum of Art (Sculpture/Jim Dine/Pinocchio)" *Signed by Dine in black marker lower righ...

Ed Ruscha Documenta 5 (Engberg 66), 1972 Color silkscreen on wove paper Pencil signed and numbered from the limited edition of 150 on the front; the artist's copyright ink stamp and ...

Chuck Close Recent Paintings (Hand Signed by Chuck Close), 2000 Large Illustrated Glossy Exhibition Catalogue with French folded flaps Hand signed by Chuck Close in black marker on t...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré à Valeri...

Paula Scher China, 2013 Hand pulled silkscreen on deluxe Lanaquarelle paper 24 3/5 × 28 1/5 inches Edition of 95: Pencil signed and numbered on the front Unframed Accompanied by gall...

Patrick Caulfield's cheeky, Pop Art take on a seaside favorite, dressed lobster, abstracted in graphic black strokes atop a field of red decorated with tiny sprigs. Signed by the art...

ICES Pink Lemonade, bold pop art street photography from Richard Heeps' series, On-Sea. Created as an ode to Richard's childhood visits to his grandparents living on the Sussex coas...

Richard Lindner, German/American (1901 - 1978) - Circle and Pillow, Portfolio: After Noon Portfolio, Year: 1969, Medium: Lithograph on Arches, Signed and numbered in pencil, Editi...

Max Epstein, Canadian (1932 - 2002) - Tree Bark, Year: 1982, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Image Size: 23.5 x 16 inches, Size: 27 in. x 19 in...

This Blue Dog work consists of a purplish/blue background, a blue dog with a red cape covering head, ears and body, sitting atop 3 brownish/yellow moons. The dog has soulful yellow ...

David “Kawika“ Maes Gallegos b.1954 – was born in Denver, Colorado. He works primarily as a pop artist and does multiple luminous cityscapes. This piece is a Lithograph on Arches, si...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analogue technology, which reflects the artists practice within photography. This record features a vintage seafoam green Buddy Holly...

Alistair Grant Girl III - 1968 Print - Lithograph 23½″ x 31'' inches Edition: Signed in white pencil, titled and marked Artist Proof Alistair Grant was a great and justly-rever...

Ladies and Gentlemen is a colored screen print realized in 1975 by the Pop artist Andy Warhol.  Reference: Feldman-Schellmann, II.126. Monogrammed in pencil lower right and editio...

Lithograph on vélin Mohawk Superfine Smooth paper. Paper Size: 11.937 x 8.96 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, In Memory of My Feelings,...

LIMITED EDITION PRINT 45 x 90inches - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, inte...

Christo The MCA (Museum of Contemporary Art) Wrapped, Chicago, 1969, 2019 Limited Edition Four-color offset lithograph on 110 lb. Crane Lettra Cover stock, with an elegant gold foil...

This Blue Dog work consists of a black, blue, green and 2 shades of pink background and a dog sitting on a dark red chair in front of earth. The dog ha...

Robert Indiana Stable Gallery 16 October 1962 (Hand Signed & Inscribed) Silkscreen on art paper Signed and Dedicated in pencil on the recto. The dedication and signature reads "For...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Keith Haring's involvement with the Learning Through Art program at the Guggenheim Museum Children's Program was a testament to his commitment to arts education and community outreac...

Celebrating the one and only Marilyn Monroe in this unique series by Mauro Oliveira. Limited edition of 30 museum quality Giclee prints on PAPER, signed and numbered by the artist....

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Darth Elvis - Hand Signed Limited Edition Archival Pigment Print This piece is a fun and modern reworking of actor and singer Elvis Presley, dressed as Star Wars' Darth Vader. B...

Edition 5 Portrait of Pink Panther in Basquiat Style JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a dist...

Fun Loving Criminals II by BATIK signed limited edition POP ART print Paper Size Oversize 40 x 30" inches / 101 x 76 cm Signed & numbered by artist on front Archival Pigment print ...

The poster titled Marathon was created for Robert Rauschenberg's 1981 exhibition at Ace Gallery in Canada. This work, like much of Rauschenberg's art, refl...

Printed in the same scale as the original James Rosenquist painting, this black and white, abstract pop art composition features a car door collaged over a gleaming, metallic chrome circle. The shining metal and automobile imagery is characteristic of Rosenquist’s work. Bold, minimalist and monochrome, with a hint of yellow and cobalt blue, Tube's circular composition became a recurring motif for Rosenquist. Circles appear in the artist’s prints from the late 60s – he was interested in the “circles of confusion”, or the phenomenon of a camera lens being pointed directly at the sun. Lithograph based on Rosenquist’s 1963 painting...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analo...

Coney's, Porthcawl, photograph from Richard Heeps On-Sea series. The series captures the essence of the Great British 'Staycation'. Richard has captured iconic signs around the world...

Japanese beauty , 50x50cm, print on canvas Edition 20 pcs.

Roy's Motel Sign, Route 66, Amboy, California, 2001. Swim-in-Pool Supply Co. Las Vegas, Nevada, 2003. Pink Champagne Motel, Wildwood, New Jersey, 2013 Set of three framed ready to h...

President Wolodymyr Painting In his work, Ralf Schmidt combines elements of illustration, graphic design, and painting to create a distinctive, stylized realism with Pop Art influen...

ICES, by Richard Heeps, photographed at the British Seaside at the end of summer 2020. This artwork is about evoking memories of the simple joy of days by the beach. The turquoise te...

A set of four screen prints produced by Bob Whitaker around 2005. Just 25 sets of Artists Proofs of these bold and dramatic screen prints were produced. Each print is made on on 27.5 x 39.5 inch paper, and numbered out of 25 AP's under the image area in pencil. One print (Paul McCartney) in each set has been signed by Bob Whitaker. They are sold as a complete set of four. The price is for the set, framed. Individual image sizes...

This original exhibition poster was created for a show featuring the work of Douglas Gordon, held at Gagosian Gallery in New York City from October 31 to December 15, 2007. Known for...

Vintage offset poster realized in occasion of the exhibition @Galleria Marino of illustrations for childrens' Books in 1976.

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...