Paula Scher Figurative Prints

Kansei: Like The River's Flow 2010 by Takashi Murakami Offset print, cold stamp and high gloss varnishing with silver ink signed, numbered and stamped by the Artist 27 7/8 in diamete...

• 80 x 100cm A study in red, painstakingly drawn in Jack's hyper-realism style with coloured pencil, and printed on museum quality 100% cotton paper. 'Heartburn' is a limited edition...

• 80 x 100cm A study in Rose Gold, painstakingly drawn in Jack's hyper-realism style with coloured pencil, and printed on museum quality 100% cotton paper. Set on a dramatic black background. 'Rose-Tinted' is a limited edition giclée print of a pencil drawing, and is hand signed and numbered by the artist. This heart balloon...

The painterly, multicolored effect of this pastel ice cream still life is achieved by printing “à la poupée”, in which multiple colors can be applied to the plate for printing at one time. Oldenburg first printed in brown, and for the second plate, freely applied yellow, green, purple, blue, and light purple, producing an array of loosely sketched pastel confections. Image 13.5 x 21.15 in. / 34.3 x 53.7 cm Paper 22.5 x 31.25 in. / 57 x 79.4 cm Soft-ground etching and aquatint in six colors “à la poupée” on cream, thick, slightly textured Arches paper. Signed by the artist with initials lower center in pencil, dated 1976 lower right in pencil, and annotated AP VIII/XII lower left in pencil. Ice cream is a subject Claes Oldenburg has returned to again and again: from monumental sculptures of ice cream cones, to plaster parfaits, to countless drawings and designs. On his soft sculptures, Oldenburg wrote: "Reversing the expectations of hard sculpture, these huge collapsing objects rely on gravity and chance for their final form." The drooping edges of his soft sculptures connect to the unpredictably melting surface of ice cream, which he has explored viscerally through his dripped plaster ice cream sculptures...

"Diamond Dust Shoes (Black and White)" is a screen print by American pop artist Andy Warhol. It is signed and editioned verso, " 18/60 Andy Warhol" Stamped verso, "© Andy Warhol 1980...

Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...

Painstakingly hand-drawn in Jack's signature style, 'Endless Summer' immortalises long summer afternoons. This giclée print is a signed and numbered reproduction of a coloured pencil...

"Paint Cans" is a lithograph in colors on wove paper made in 1990 by Wayne Thiebaud. The work is number 13 from an edition of 100. The work is signed in pencil, lower right, "Thiebau...

Artist: Andy Warhol (1928-1987) Title: Campbell's Soup II, Cheddar Cheese (F&S II.63) Year: 1969 Edition: 250, plus 26 proofs Medium: Silkscreen on wove paper Size: 35 x 23 inches Co...

Based on Rosenquist’s 1961 grisaille oil painting Flower Garden, this work arranges a still life using an advertisement for gloves with part of an athlete’s torso. A number 1 can be ...

The Most Important Film Ever Made, 1972 Color screen print and collage, from the edition of 70. 15 x 17 in 38.1 x 43.2 cm Published by the artist with Marlborough Graphics at the Kelpra studio in 1972. This work is also in the collections of TATE London and the Victoria & Albert Museum. the price reflects the fact that there is no backing page. Stylistically, these are hybrid works, influenced by Pop art and the modernist tradition of the Readymade, a work of art created when a mundane found object is named as an artwork and set in an art context. This avant-garde concept was originally invented by the Dada master Marcel Duchamp early in the twentieth century. In the 1960s it received renewed attention at a time when artistic norms were again being questioned. Reacting to Andy Warhol’s Pop imagery, Kitaj poignantly called his repurposed lithograph and silkscreen book covers “his soup can, his Liz Taylor.” The blatant use of images taken directly from commercial sources situates In Our Time as a precursor of appropriation art. In turning book covers into works of art, Kitaj is offering fragments of a history of knowledge, in which the content of each volume is at once mysterious and absent. Coming from this passionate bibliophile, the series is nothing less than an intellectual self-portrait. R.B. Kitaj, in full Ronald Brooks Kitaj . Ron Kitaj...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwdrivers assume a visceral symbolism. Curvilinear handles evoke the contours of limbs or bones, and even metal points and blades seem organic under Dine’s thoughtful hand. In this series of dry point prints...