Text Art

2 Drawings included Markers & acrylic on paper Shipped well protected, unframed

Shipped from Thailand because i am living here in 2025 Acrylic on canvas Shipped well protected, unframed

A Striking, 1950s Mid-Century Modern Figure Study Ink Drawing of a Standing Female Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and except...

Lithograph on vélin de Rives paper. Paper Size: 15 x 11 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Taureaux, Lithographies de Jean Coc...

A Striking 1950s Mid-Century Modern Ink Drawing of a Reclining Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). Exhibiting a spare and exceptional use of brushwor...

'Two Women' by Jean Negulesco, Continuous Line Drawing, BAFTA, Maltese Falcon, Oscar, Hollywood ---- Signed lower left 'Negulesco' for Jean Negulesco (Romanian-American, 1900-1993) a...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Hunt Slonem's artistic trajectory has always been characterized by a deep exploration of spiritual themes. His use of repetition in form—particularly with his beloved bunnies—serves ...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Lithograph in colors on vélin Exhibition Fine Art Cartridge paper. Paper Size: 12.75 x 9.75 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Hockney's ...

Artist: Slonem, Hunt Title: Who Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 15" x 13" Signature: Signed by Artist on Verso Edition: Unique...

Hunt Slonem "Grass" Bunny Couple in Green Two bunnies gestured in black on a green background in a vintage frame. Unframed: 12 x 11 inches Framed: 16 x 15 inches *Painting is framed...

Shipped rolled in a tube, without frame! 5cm/2" extra of white edge around the painting surface Can make commissioned works_ -Specialist in large painting___ _intuitive painting, ...

"Pink Passion" is a framed oil painting on canvas by Hunt Slonem, depicting two of the artists' iconic bunnies painted in black on a pink background in a wooden frame. Signed to the ...

Artist: PABLO PICASSO (AFTER ) Title: Vive le Paix (Long Live Peace) Year: 1954 Published by: Combat Pour La Paix, Paris Medium: Lithograph on Lana paper (Blind stamp JPG attached) P...

Carl Smith is an American artist who has been living in Berlin, Germany, since 2001. He works with a combination of silkscreen printing, collage, and painting to create his urban ins...

Medium: original lithograph. Catalogue reference: M 234. Printed in 1956 at the Mourlot atelier and published in Paris by Maeght for the Jacques Prévert catalogue. Size: 9 x 15 inche...

Printer’s ink from rubber stamp on vélin Strathmore 3-ply paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publ...

Artist: Slonem, Hunt Title: Bunny Scored Date: 2025 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 14" x 12.5" Signature: Signed by Artist on Verso Editi...

This lithograph page by René Bazaine from Derrière le Miroir No. 170 features abstract forms inspired by natural elements like water and foliage. The artwork's rich colors and harmon...

Marcel Duchamp Poster within Poster, 1963 Poster 34 1/2 x 27 inches Provenance Estate of Carolyn Brown, New York 2025. Born in Blainville, Normandy, Duchamp hailed from a family w...

This painting is signed and dated by Barnabè in the lower right. Barnabè's still-lives of simple everyday objects such as water pitchers, coffee cups, vases and bowls are painted in ...

Lithograph on vélin paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the album, Les Cavaliers d'Ombre; Sous le Manteau de Feu, 1956. Pub...

Medium: original lithograph. Printed on a thin japon-type paper and published in Milan by Groupe Espace for the very rare 1955-56 volume of Documenti d'Arte d'Oggi. Sheet size 12 1/2...

Lyonel Feininger, 'Ausfahrender Dampfer Odin (Outboard Steamer Odin)', woodcut, 1918, proofs only. Prasse W75. Signed in pencil and annotated '1860', the artist’s inventory number. A...

Architectural Drawing is a modern artwork realized by Giuseppe Perotti in the Early 20th Century. Good conditions.

This circa 1900 original poster for Champagne Jules Pierlot, Epernay is a prime example of Belle Époque advertising design. Featuring elegant typography, heraldic symbolism, and a re...

Marker on paper Shipped well protected, unframed I can do commissioned work of any technique, style and size, contact us without obligation i can ship several drawings together if ...

Stefanie Schneider Polaroid sized unlimited Mini 'Girl Nude at Window - Bathtime III (29 Palms, CA)' - 1999 - 1 Archival Color Photograph based on the original Polaroid. Polaroid ...

Presenting an early oil on newsprint, laid on canvas by American street artist Alec Monopoly. "Monopoly Man", is an original oil on newspaper, laid on ...

After PABLO PICASSO (1881-1973) Peace Dove 1 1961. Signed in the plate Edition Succession Picasso, Paris (posthumous reproductive edition) Editions de la Paix Pablo Picasso (1881- 1...

Medieval Castle on a Cliff by the Sea on North Coast of Ireland by 20th Century Irish Artist, John Wright. An impressionistic impasto original oil painting of Dunce Castle, used in Game of Thrones. Art measures 24 x 18 inches Frame measures 34 x 28 inches This vibrant painting captures the dramatic beauty of a rugged coastal scene, dominated by an ancient castle perched atop a rocky cliff. The artist's dynamic brushwork and bold use of color bring the landscape to life, with the turquoise and blue hues of the sea contrasting against the warm, sunlit rocks and castle walls. The swirling water and textured rocks in the foreground add depth and movement, making the scene both captivating and lively. Encased in a classic gold-trimmed frame, this artwork is a striking piece that will add a touch of historical grandeur and natural beauty to any space. Dunluce Castle is a now-ruined medieval castle in Northern Ireland, the seat of Clan MacDonnell. It is located on the edge of a basalt outcropping in County Antrim and is accessible via a bridge connecting it to the mainland. The castle is surrounded by extremely steep drops on either side, which may have been an important factor to the early Christians and Vikings who were drawn to this place where an early Irish fort once stood. Dunluce is one of the most picturesque and romantic of Irish Castles. With evidence of settlement from the first millennium, the present castle ruins date mainly from the 16th and 17th Centuries. It was inhabited by both the feuding McQuillan and MacDonnell clans. Richard Óg de Burgh, 2nd Earl of Ulster, built the first castle at Dunluce, In the 13th century. The earliest features of the castle are two large drum towers about 9 metres (30 ft) in diameter on the eastern side, both relics of a stronghold built here by the McQuillans after they became lords of the "an Rúta" (territory) in the early 1500s. Later Dunluce Castle became the home of the chief of the Clan MacDonnell of Antrim and later John Mor MacDonald the 6th chief Clan Donald of Scotland. In 1584 with the passing off John Mor MacDonald, the Antrim Glens and Castle were seized by Sorley Boy MacDonnell, making it the seat again solely of the MacDonnell Clan. Sorley Boy took the castle, keeping it for himself and improving it in the Scottish style. Sorley Boy swore allegiance to the crown and his son Randal was made 1st Earl of Antrim by King James I. The Girona, a galleass (Ship) from the Spanish Armada, was wrecked in a storm on the rocks at Lacada Point on the night of 26 October 1588. Cannons from the ship were installed in the gatehouses and the rest of the cargo sold, funding restoration of the castle. Dunluce Castle served as the seat of the Earl of Antrim until the impoverishment of the MacDonnells in 1690, following the Battle of the Boyne...

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Portrait of a Siberian kitten Technique: oil, acrylic, glue, ink on old book pages on wooden frame 40x40cm ■■ 15,7 x15,7inch ⭐Sustainability⭐: Wooden frame is made by the artist b...

Lithograph realized by Jean Cocteau in 1957. Hand signed and dated in pencil. Out of commerce proof, out of an edition of 90. Includes a wooden frame cm 34.5x26

Supercomb created by Jean Michel Basquiat for his exhibition in Paris 1988. Ultra vibrant colors with many interesting details of images and text combined in Basquiat's easily recogn...

Keith Haring, Montreux Jazz Festival, 1983 (Orange)(Framed) 5 colour neon screenprint on heavy stock paper printed on half-matte coated paper 250gsm 78 x 108 cm (27.55 x 39.37 in) ...

Artist: Vahe Yeremyan Work: Original Painting, Handmade Artwork, One of a Kind Medium: Acrylic on Plexiglass Year: 2025 Style: Contemporary Art, Title: Signature in Gold Size: 14"...

"LOVE in Blue and Green" is a notable silk-screen poster designed by Robert Indiana and published by Posters Originals in 1971. The piece is rooted in Indiana's iconic "LOVE" series,...

Original and unique artwork by Hunt Slonem. A Certificate of Authenticity will be accompanied with this piece. From the Series "Bunnies". Oil on wood. Unframed Dimensions 10 x 8 inch...

The original Château Mouton Rothschild 1988 label, created by American artist Keith Haring, is an emblematic work of art combining the excell...

Gary John's pop-street artworks have a whimsical, yet exciting and bold quality inspired by classic cartoon and comic book characters. Blending pop sensibilities with a roughened fau...

Vive la Pub, published in 1984 by Gilbert Salachas, Paris, is a hardcover edition bound in blue cloth with a dust jacket. While the jacket shows a few small tears, the book remains i...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Jean-Michel Basquiat Lounge Lizards 1979:
 Impossibly rare original hand-drafted flyer by Basquiat for a performance by his close friend, John Lurie & t...

Artist: Slonem, Hunt Title: Hutch Series: Bunnies Date: 2023 Medium: oil on canvas Unframed Dimensions: 30" x 40" Framed Dimensions: 32" x 42" Signature: Signed by Artist on...

Man Ray Alphabet Pour Adultes (Alphabet For Adults), 1970 Silkscreen in colors and lithograph on paper mounted on wood veneer mounted on card stock. Hand Signed. Numbered. Dated. Ha...

Gary John has been a street artist since 1985, originally from Seattle Washington, then moving to Venice Beach selling his art on the boardwalk for 10 years before exploding onto the...

Artist: Slonem, Hunt Title: The Rose 7 Date: 2024 Medium: Oil on wood Unframed Dimensions: 20" x 16" Framed Dimensions: 26" x 22" Signature: Signed by Artist on Verso Edition:...

Albrecht Dürer, German (1471 -1528) - Diptych from First Edition of The Ship of Fools, Year: 1494, Medium: Woodcut and Engraving, Image Size: 7 x 12.25 inches, Frame Size: 10.75 ...

Medium: lithograph (after the original lithograph poster). During the late 1940's and throughout the 1950's, Picasso created a series of posters at the atelier of Mourlot Freres. The...

Artist: Slonem, Hunt Title: Whydahs in Blue Date: 2024 Medium: Oil on wood Unframed Dimensions: 21.5" x 29.5" Framed Dimensions: 25" x 33" Signature: Si...

Paper Size: 25 x 33.5 inches ( 63.5 x 85.09 cm ) Image Size: 19.5 x 30.5 inches ( 49.53 x 77.47 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition five colo...

DUCHAMP, Marcel. International DADA Exhibition 1916-1923. Large Poster printed in black and orange, designed by Duchamp. Single sheet, 965 x 635 mm, (38" x 25"). New York: Sidney Janis Gallery, 1953. Folded. A fine copy of this extremely rare Duchamp poster...

James Joyce Catalog raisonné: Schellmann 511 Offset 1984 In great condition

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

Artist: Slonem, Hunt Title: Hutch Historical White House Series: Bunnies Date: 2023 Medium: Oil and Acrylic on Canvas Unframed Dimensions: 40" x 40" Framed Dimensions: 42" x ...

Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor sca...

This piece depicts iconic Logos with vintage news paper clippings from the mid century. We find Jacqueline Kennedy Onassis lower left, with other Americana imagery through out. Celeb...

Artist: Peter Max (1937) Title: Love I Year: 2001 Edition: 453/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 6 x 5 inches Condition: Excellent Inscription: Signed ...