Silhouette Prints and Multiples

Multiple shots of a blue heron landing on a tree top. The photo is in black and white, emphasizing the grace of those fantastic birds in their flight :: Digital :: Photorealism :: Th...

The Silhouette Profile - The Physiognomy is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowle...

The Silhouette Profile - The Physiognomy is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowle...

The Silhouette Profiles - The Physiognomy is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowl...

Silhouette is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind", ...

Silhouettes is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowledge and the Love of Mankind",...

The Physiognomy - The Silhouette Profile is an original etching artwork realized by Thomas Holloway for Johann Caspar Lavater's "Essays on Physiognomy, Designed to Promote the Knowl...

Silhouettes is an original artwork realized by Thomas Holloway (1748 - 1827). Original Etching from J.C. Lavater's "Essays on Physiognomy, Designed to promote the Knowledge and the ...

At sunrise birds were flying over a very calm lake along the Texas Gulf coast :: Digital :: Contemporary :: This piece comes with an official certificate of authenticity signed by th...

Donald Baechler 2005: a set of 2 works: A set of two highly decorative signed limited edition Donald Baechler prints sure to standout in any setting. Included in the set: Donald Bae...

Matador is an original Contemporary artwork realized by Leo Guida in 1970s. Original Two Colors Monotype Lithograph (unique copy) on paper. Mint conditions. Torero is an excellen...

Zbereznik Poster is an original lithograph artwork on paper realized by J. Trevtzer in 1973. Original colored lithograph. Good condition and aged. The artwork is the poster to ad...

Donald Baechler, Potted Plant, 2005 A fun, whimsical, and highly decorative signed limited edition Baechler piece that works well in any setting. Medium: Aquatint and drypoint on ...

This is a more narrative piece, not to point to a certain theme or subject matter but to play with the element of detail and variation in an imaginary setting. I chose black and whit...

Silhouette of a Sailing Ship is a black and white serigraph on paper, by an artist signs "P- Lübbers". Signed and numbered in pencil on the ...

"Scotland 0030" Photography 18" x 24" Edition of 20 by Ben Cope Unframed - ships rolled in a tube Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture ...

Original vintage exhibition poster Color lithograph - created on the occasion of the exhibition in Barcelona 1983 In great condition

"Approach" Abstract Art Print 36" x 29" in Ed. of 25 by Yevgeniy Repiashenko Year photo was taken: 2018 Art Print Limited Edition of 25 Picture size: Height: 36" inch Width: 29" in...

"Workforce V2" Photography 24" x 36" inch Edition of 7 by Brendan North Available sizes: Edition of 15: 16" x 24" inch Edition of 7: 24" x 36" inch Edition of 3: 40" x 60" inch Fro...

Albert Einstein silhouetted portrait, a collotype print, watercolor by Lilya Vorobey (American, 21st C). Unsigned. From a collection of her works. Image, 9.75"H x 5.88"W. Full Sheet...

C-print mounted on Plexiglass Edition of 30

"Workforce V1" Photography 24" x 36" inch Edition of 7 by Brendan North Available sizes: Edition of 15: 16" x 24" inch Edition of 7: 24" x 36" inch Edition of 3: 40" x 60" inch Fro...

Old Puss in Boots' by Tim Southall. Old Puss in Boots is a seasoned performer, spinning tales to a packed theatre audience. Once sprightly, he now stands with a cane, but age has not...

Salvador Dali - Zeus - from "Mythologie" Original Etching Dimensions: 76 x 46 cm 1965 Editor: Phika Pierre Argillet Edition: 12/150 Handsigned and numbered References : Michler et Lo...

Hand-pulled screen print. printed on 290gsm Coventry Rag paper with deckled edges 61 x 61 cm 24 x 24 in Edition of 75 hand-signed and numbered on the front Cleon Peterson is a conte...

Cold Spring 1 (2016) Solar Plate Etching 12 x 12 Inches Paper Size: 20 x 18 Inches Printed by Sue Oehme at Oehme Graphics

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

Tom White is a New Zealand-based artist investigating artificial intelligence and machine perception. White's artwork examines the Algorithmic Gaze: how machines see, know, and artic...

Andres Serrano Holy Works: Pieta - Contemporary, 21st Century, Digital Print, Limited Edition Contemporary, 21st Century, Digital Print, Limited Edition C-Print Edition of 50 29,8 x...

edition 2/7 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Untitled (Some of the Facts), 2001 Antony Gormley Etching with aquatint, on wove paper Signed, dated and numbered from the edition of 200 Published by Tate St Ives, Cornwall Plate: ...

Untitled (Cityscape), 1996 Julian Opie Lithograph in colours, on Somerset White Satin wove Signed in pencil A printer’s proof aside from the numbered edition of 100 Printed by Sky Editions, London Published by Monica de Cardenas...

Hand signed and numbered by the artist. 4-color hand pulled screen print on Mohawk Superfine UltraWhite, 160 lb cover paper with deckled edges. From the edition of 50. Frame size ...

Richard Scudder, Triple Black Belt Jump - In Lavender With Black On White. Multi Colored Serigraph Hand Signed And Numbered By The Artist :: Hand Printed Work :: Modern :: This pi...

This piece is unframed.

Print of a woman running in business attire. Edition of 10

C-print mounted on Plexiglass Edition of 30

C-print mounted on Plexiglass Edition of 30

edition 1/5 BARBARA KUEBEL is a Daphne, AL-based artist who uses oil and pencil for her works on paper and on canvas. She was born and raised in Austria and earned two art degrees f...

Limited edition 6-layer screen-print on white Fabriano paper (300gsm). Size 39.4 x 21.5 Edition of 7 - numbered, titled, and signed by the artist in pencil.

Eduardo Arroyo - Greek Homage - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel.

Untitled (Nr. 1943) Landscape Photography 18" x 24" in Ed. of 20 by Rowan Daly Unframed - ships rolled in a tube Ben Cope + Rowan Daly Off the Grid Off the Grid is the culmination of a six-year photographic journey through Baja, Mexico. Ben Cope and Rowan Daly began their travels in 2014, working their way through the towns of la Salinas, Baja Mar, and Cantamar, down through Ensanada and la Bufadora. This series of photographs depicts the pair’s adventures and explorations. Off the Grid documents the textures, people, and places visited during this incredible journey. Ben Cope is a Los Angeles based portrait artist with a BFA in ceramic sculpture and photography from Columbus State University. He maintains a successful career with a diverse portfolio including fashion, editorial, celebrity portraiture and advertising. He is widely known for his celebrity and fashion portraiture, which has been published internationally in publications such as Harper’s Bazaar, Elle, GQ, The Work Magazine, Fucking Young, and l’Officiel, and has shot international campaigns for such clients as Adidas, L’Oréal, Paul Mitchell, and Vidal Sassoon. He has photographed Selena Gomez...

Unique and large print titled CAN NOT BE PICTURED – OH NO OH NO! (The Sequoias) Digital collage from digital photography [2011]. Diptych, toner print on 90 g pink paper, mounted on...

This artwork titled "venus Noir" from the suite "The Mujeres File" 1969 is an original colors lithograph on BFK Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is h...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Charline von Heyl Hawk Moths, 2016 Lithograph with pochoi 47 1/4 x 31 1/2 inches (120 x 80 cm) Edition 8/30

"Beauty 5" is from Alex Katz' Beauty series. The topic "beauty" is a very important one for Katz. His whole body of work is due to beauty and it is a reminiscence to his wife Ada, to...

"Flags" is a stunning woodcut from 2013. It is a very stylized view over a wide flower meadow. Typically, Katz is using a clear and straight color palette. It is beautiful to see how...

Western Photography, Rodeo Photography, Horse Art-Bright Knight “I heard about the rodeo in my friend's small Colorado county, I knew I had to go and see it for myself. I wanted to ...

Created by Keith Haring in 1985 as an original color lithograph, Untitled (Free South Africa #2) is hand-signed, dated and numbered in pencil, measur...

Created by Robert Longo in 1999 as an original lithograph on wove paper, Ellen measures 70 x 40 in. (178 x 102 cm.), unframed. The artwork is hand-signed, dated, and numbered from th...

Alexis Fidetzis How to Brutally Construct an Absurd Sense of Pride digital print on paper 30 x 150 cm (7 pieces)

All editions are signed by the photographer. Availability is subject to change without notice.