Peter Blake Landscape Prints

Artist: Thomas McKnight (American, 1941-) Title: "Maidstone" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white S...

Serigraph Signed in pencil Will be shipped unframed

This screen print, printed on Arches Cover White paper, is hand signed and numbered in graphite. The edition size is 108 plus 18 Artist Proofs. This print comes directly from the publisher, Lincoln Center Editions...

Shepard Fairey — We the People 5-Print Offset Lithograph Set (2017) This compelling set features all five iconic prints from Shepard Fair...

Eyvind Earle (1916-2000) Ocean Splash, 1991 Serigraph in colors on wove paper Edition 119/150 Signed lower right With publishers/printers stamp to lower left margin Image: 36in H x ...

Tomas Sanchez El Testigo, 2025 UV pigment print 27 x 22 in Ed. 153 of 425

SHIPPING CHARGES INCLUDE SHIPPING, PACKAGING & **INSURANCE** Last Horizon, 1991 Bill Schenck Serigraph, Printers Proof Size: 27.75 x 29.75 inches UNFRAMED SHIPPING CHARGES INCLUDE...

This striking contemporary abstract serigraph by Eyvind Earle (1916-2000) is entitled "Eucalyptus Forest". It depicts a stylized scene of cloud like trees with a radiating pattern in the foreground, possibly tilled fields. It is signed in pencil in the lower right and numbered in pencil 119/267 in the lower left. This colorful print is presented in a glossy black wood frame with a French mat...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...

With hand-deckled edges. Obey publishing chop in lower left corner. "Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhyth...

Artist: Nicholas Krushenick (1929-1999) Title: North End Year: 1979 Edition: 15/200, plus proofs Medium: Silkscreen on wove paper Size: 36 x 26 inches Condition: Good Inscription: Signed and numbered by the artist. NICHOLAS KRUSHENICK (1929-1999) One of America’s premier Pop artists, Nicholas Krushenick’s work consists of geometric abstract motifs whose shapes were outlined in heavy black lines. In this regard his original prints were often compared to those of Pop Art co-horts Roy Lichtenstein and Andy Warhol, but unlike these masters Krushenick avoided any imagery from commercial art...

Artist: Robert Rauschenberg (1925-2008) Title: Human Rights 1981 Year: 1981 Medium: Silkscreen and lithograph on wove paper Edition: 41/100, plus proofs Size: 31 x 23 inches Conditio...