1989 After Tom Wesselmann 'Country Bouquet with Delphinium'

1989

"Seascape" is a serigraph created by Tom Wesselmann specifically for Art Miami in January 1991. This piece reflects Wesselmann’s exploration of natural themes, integrating his distin...

Paper Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Image Size: 59.75 x 30.5 inches ( 151.765 x 77.47 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

This serigraph poster by Allan D'Arcangelo was created in 1976 to commemorate the American Bicentennial, celebrating 200 years of the nation's in...

Paper Size: 39.25 x 27.5 inches ( 99.695 x 69.85 cm ) Image Size: 26 x 18.25 inches ( 66.04 x 46.355 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age ...

Yayoi Kusama Standing in the Visionary Field (1979). Edition 46/100 Screenprint [13 screens, 13 colors, 13 runs] 40.8 x 52.2 cm (image) 50.8x 65 cm (sheet) Edition of 100 + 10 Artist Proofs Published in 1979 on Hakou-shi paper by Ishida Ryoichi (printer) Provenance: Art Factory Gallery, Setagaya-ku, Tokyo Shinwa Art Auction, Tokyo Publications: A specimen of the same edition is represented in full page at plate 2, page 12 of the Catalogue Raisonné of Kusama's prints: "Yayoi Kusama Prints 1979...

Robert Indiana Colby ART (Sheehan, 80), 1973 Silkscreen in Colors on White Wove Paper Pencil signed and numbered 69/100 on the front with artist's copyright @Robert Indiana lower right front Published by Robert Indiana with copyright; Printed by Seri-Arts, Inc. Vintage metal frame included Classic early 1970s work. There was a time, we are told, when every prestigious collector in Germany would have an edition of Robert Indiana's iconic ART print prominently hanging in their home. This is an uncommon and desirable Robert Indiana piece from the early 1970s. Boldly signed in graphite on the recto (front), numbered and bearing the artist's copyright: @ Robert Indiana 1973...

Skulls (FS.II.157) is a screenprint on paper with an image size of 30 x 40 inches, signed 'Andy Warhol' and annotated lower left. From the edition of 60, numbered 36/50 (there were also 10 APs), and framed in a custom, closed-corner, gold-leaf frame. Catalogue - Feldman Schellmann, #157 (II.157 Skulls 1976) Andy Warhol’s Skulls from 1976 are part of the transition he began initially in 1972 with the Mao series – incorporating hand-drawn lines into the image – and with Ladies and Gentlemen and Mick Jagger in 1975 where he began the print process with his own photographs rather than appropriated ones. Additionally, in the 1975 prints, he began using collaged elements – torn paper, photographic elements, etc. Donna de Salvo writes about the Skulls series, “Skulls (II.157 – 160) lies somewhere between the genres of still life and portraiture and is based on a photograph of a skull taken by Warhol’s studio assistant, Ronnie Cutrone. The theme of skulls became a major preoccupation for Warhol, and he produced numerous versions of it in paintings. In this image, Warhol combined all three pictorial forms...

Skulls (FS.II.159) is a screenprint on paper with an image size of 30 x 40 inches, signed 'Andy Warhol' and annotated lower left. From the edition of 60, numbered 50/50 (there were also 10 APs), and framed in a custom, closed-corner, gold-leaf frame. Catalogue - Feldman Schellmann, #159 (II.159 Skulls 1976) Andy Warhol’s Skulls from 1976 are part of the transition he began initially in 1972 with the Mao series – incorporating hand-drawn lines into the image – and with Ladies and Gentlemen and Mick Jagger in 1975 where he began the print process with his own photographs rather than appropriated ones. Additionally, in the 1975 prints, he began using collaged elements – torn paper, photographic elements, etc. Donna de Salvo writes about the Skulls series, “Skulls (II.157 – 160) lies somewhere between the genres of still life and portraiture and is based on a photograph of a skull taken by Warhol’s studio assistant, Ronnie Cutrone. The theme of skulls became a major preoccupation for Warhol, and he produced numerous versions of it in paintings. In this image, Warhol combined all three pictorial forms...