Tracey Emin

Kate Moss (2006) (signed)

2006

ANTONY GORMLEY (B. 1950) Horizon Field, 2010 Etching on BFK Rives wove paper, signed, dated and titled in pencil verso Printed by Thumbprint Editions, London, the full sheet, a deckl...

Signed etching with aquatint, 2008, signed, titled, dated in pencil and numbered from the edition of 60, on BFK Rives paper, printed by Thumbprint Editions, London, with full margins...

Photogravure etching, 2010, signed, titled, dated and numbered from the edition of 50 in pencil, on Fabriano paper, with full margins, 254 x 339mm Dimensions are 25.4 x 33.9 cm. Edit...

Bball Studio, 2019 Etching on white Rives BFK paper 11 × 9 1/2 in 27.9 × 24.1 cm Edition of 200 Hand-signed and numbered by artist Signed and numbered with publisher's chop on recto

Polymer gravure etching, 2013, signed in pencil, dated, titled, numbered 44/50, on wove paper. sheet: 19.7 by 29.5cm.; 7¾ by 11⅝in.

Signed lithograph in colours, 1972, on wove paper, signed in pencil, numbered 129/200, published by Cercle Graphique Européen, with their blindstamp, in good condition, framed 76 x ...

Effondrement Inderminate Lines, 2022 Etching and polymer 19 x 21 1/4” Edition of 40

Tammy Mackay Rowland’s Dodo (Version II) Limited Edition Photppolymer Print Edition of 30 Size: H 56.5cm x W 75cm x D 0.1cm Sold Unframed (Please note that in situ images are purely ...

This work is a secondary continuation to my "Vanilla Extract" series (2002 - ongoing) which examines the practice of racial positioning in contemporary print media.

Rowland’s Dodo (Version II) is a limited edition Photopolymer print on soft white Somerset paper by Tammy Mackay. The black and white print is highly detailed and could easily be mis...

1/10 Microscopic image of microbes in a petri dish Medium: Intaglio Print on Arches Paper/unframed Shipped in a tube

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...