Gianpistone Art

Serigraph on paper. Hand signed, titled and numbered by the artist. From the HC edition of 3. Artwork is in excellent condition. Certificate of Authenticity included. All reasona...

Pop art scene of abstracted Greek pillars and green leaves. Drawings in black and white, pale blue, red and grey compose this colorful print. Layers of p...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

George Chemeche, Iraqi/American (1934 - ) - Composed Field II, Year: 1979, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 25, Image Size: 32.5 x 29.5 inches...

Shepard Fairey OBEY Noir Flower Woman - Blue (Art Deco, Dark Wave Aesthetic, Portrait) Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches (60.96 x 45.72 cm...

Shepard Fairey A Hard Rain’s A-Gonna Fall Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 500 Signed by Shepard Fairey, dated and numbered by hand COA provided *Edition number may vary from the image shown. In this portrait inspired by Bob Dylan, Shepard Fairey reflects on the enduring cultural and political significance of one of the most influential songwriters of the 20th century. While acknowledging that Dylan’s vast catalog varies in resonance for him personally, Fairey emphasizes the extraordinary impact of Dylan’s strongest work—particularly his socially conscious and protest-oriented songs—which helped redefine the role of music as a vehicle for commentary, dissent, and cultural transformation. The print takes its title from Dylan’s seminal song A Hard Rain’s A-Gonna Fall, a composition Fairey regards as emblematic of art that is both timely and timeless. The lyrics—filled with surreal, apocalyptic, and symbolic imagery—serve as a poetic meditation on violence, injustice, fear, and moral urgency. For Fairey, Dylan’s ability to combine lyrical complexity with emotional immediacy positions him not only as a musician, but as a “people’s poet” whose work continues to shape public consciousness across generations. Visually, the composition is based on a photograph by Daniel Kramer, who documented Dylan extensively during his rapid rise to prominence in the mid-1960s. Fairey’s interpretation captures both Dylan’s self-possession and his well-known resistance to being cast as the singular “voice of a generation.” Through bold graphic stylization and restrained symbolism, the portrait pays tribute to Dylan’s lasting influence on music, political expression, and artistic independence. Bob Dylan portrait...

Victor Guadalajara (Mexico, 1965) 'Boceto Luna Roja', 2020 piezography on paper Velin Arches 300 g. 10.3 x 14.2 in. (26 x 36 cm.) ID: GUA-999 Hand-signed by author

Ciro Quintana (Cuba, 1965) 'Abstraccion de Vereda Tropical', 2016 silkscreen on paper Canson 320 g. 30 x 22.1 in. (76 x 56 cm.) Edition of 50 ID: QUI-301...

A colorful pop art drawing of a whimsical landscape scene featuring red flowers, green trees, yellow sun, and blue sky and clouds with cubist furniture on a front porch. Two flies converse over bentwood chairs drawn in black, red and white, in this whimsical work by famed New York artist Michael Hurson. Framed in white enamel. Paper 23.5 x 32.5 in. / 59.5 x 82.5 cm Frame 27 x 35 x 2 in. / 68.5 x 89 x 5 cm Two Flies on a Bentwood Chair by Michael Hurson. Lithograph on white paper with silkscreen on plexiglass, in a cream-colored lacquer frame. Edition 70: this impression 56/70. Signed by the artist with initials and numbered 56/70 in pencil lower right. Prepackaged and framed: ready to ship immediately, and ready to hang out of the box. This mixed-media lithograph with silkscreen portrays the colorful scene of a lush, sun-drenched front porch. Hurson's whimsical play on geometry and three-dimensionality is enhanced by the layers of plexiglass and paper upon which the image is printed. In the center of the composition, printed on the base layer of paper, a bright yellow sun sits atop a liquid, sky-blue background, and a jaunty, crayon-textured cloud. A porch door...

Shepard Fairey Spring Forth Screen print on thick cream Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 550 Signed by Shepard Fairey, dated and numbered...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this bright yellow, red, ...

Reisinger was born in Kanjiža, Serbia, into a family of painters and decorators active in Austria-Hungary and the Balkans. Most family members died in the Holocaust, including his father. As a teenager, he became active in the Partisan Pioneer Brigade and, with his mother and stepfather, immigrated to Israel in 1949. Reisinger initially lived in a transit camp and then worked as a house painter in order to earn money from almost any source. In 1950 at age 16, he was accepted as a student—its youngest up to the time—at the Bezalel Academy of Art and Design in Jerusalem, there to 1954. During mandatory service in the Israeli Air Force from 1954, he was the art director of its books and other publications. While there, he attended a class on postage-stamp design taught by Abram Games, who became his mentor and friend. Subsequently, he traveled, studied, and worked in Europe: from 1957 in Brussels and then onto London where, 1964–66, studied stage and three-dimensional design at the Central School of Art and Design, designed posters for Britain's Royal Mail, and worked for other clients while making intermittent visits to Israel. Then in 1966, he returned permanently to Israel and established a studio in Tel Aviv and today in Giv'atayim. His work has been included in numerous international group and one-person exhibitions. A large number of social-, political-, and cultural-theme posters and other graphic design, such as calendars, packaging, and more than 150 logos are superior to much of his fine art. He designed a new logo for El Al airlines (1972), and the 50-meter-long aluminum-cast relief (1978) of a biblical quotation in Hebrew on the exterior of the Yad Vashem, Israel's official museum/memorial to Holocaust victims, in Jerusalem. He has also designed logos for the Tel Aviv Museum of Arts, Tefen Museum of Arts, and Habima Theater (הבימה - התיאטרון הלאומי) and the symbol and posters of the 9th-15th Maccabiah Games (מַכַּבִּיָּה). His widely published self-produced “Again?” poster (1993) features a Nazi swastika (which Reisinger incorrectly made to face left) breaks apart to 5 pointed red Star of soviet union in reference to the possible dreaded repeat of the Holocaust. The influences on his work—itself more widely focused than solely on social and political issues—have come from colorists, Minimalists, Constructivists, and humorists. He claims one of his more significant contributions has been to stretch the visual and communicative possibilities of Hebrew letters through his symbols and logos. Reisinger is one of Israel's most-accomplished graphic designers; the others include Franz Kraus...