Richard Haas Interior Prints

Japanese Kimono by the American photorealist artist Douglas Hofmann is an original hand drawn lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on Arches paper, 100% acid free. Print size - 31.25" x 24", unframed, excellent condition, pencil signed by Douglas Hofmann Image size - 24.25" x 18.25" Edition size - 300, plus proofs Year published - 1990 Printer - JK Fine Art Editions Co. Japanese Kimono is a remarkable rendering of a young blonde woman, hair in a chignon, modeling a white Japanese silk kimono, embellished with red edging and elegant gold cranes...

Artist: Dan May (American, 1955-) Title: "Book on Chair" *Signed and numbered by May in pencil lower left Year: 1989 Medium: Original Screenprint on unbranded white wove paper Limite...

WAITING IN THE WINGS is an original hand drawn lithograph by the photorealist American painter Douglas Hofmann printed using hand lithography techniques on archival Arches paper, 100...

Artist: Andre Renoux Title: Cafe St. Honore Medium: Serigraph Signed: Hand Signed Edition: From the edition of 200 Measurements: 23" x 26 1/2" Condition: Very Good

Vintage American modernist interior scene by Will Barnet. Titled "Interlude". Signed and numbered limited edition from 1982.

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

AFTERNOON REHEARSAL is an original hand drawn lithograph(not a photo reproduction or digital print) by Douglas Hofmann printed using hand lithography techniques on archival Arches pa...

Florence Arnold (American 1900-1994) hard-edge abstract color screenprint (c.1976) pencil signed 6/25, 19in x 25in. Florence Arnold began painting seriously in 1947. By the late 1950s she associated with a group of painters including Karl Benjamin, Paul Darrow, Doug McCleland, Frederick Hammersley...

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One and Robbie Conal to create a series of anti-Bush/anti-war posters for the street-art campaign: Be The Revolution. In 2005, Fairey accepted a residency at the Contemporary Museum in Honolulu, Hawaii, where he created murals and prints that reveal a dramatic combination of constructivist style with distinctly traditional Hawaiian themes and influences. Amanda Fairey gave birth to the couple’s first child, Vivienne in June 2005, she is the namesake of punk fashion legend Vivienne Westwood. Vivienne would be the model for Fairey’s “Vivi La Revolucion” print of 2008. Fairey's street-art, was featured with that of Dan Witz...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

One screen print on wove paper titled, Alice Tully Hall by Guillermo Kuitca, 2009. It is hand signed in pencil, dated and numbered from the edition of 117 (total edition includes 18 artist's proofs) The sheet size is 22 1/4 by 20 inches, with the blindstamp of the printer, Brand X Editions, New York. Published by Lincoln Center for the Performing Arts, Inc., New York. This impression has a rich, bold red color on bright white paper. Guillermo Kuitca, whose paintings and prints are often inspired by seating arrangements in theater interiors, recreates the seating chart...