Richard Meier Mixed Media

To celebrate 50 golden years of Pride UK. A special golden disco mix edition of one of my most popular pieces. 5 layer screen print on Heritage white. A celebration of colour and par...

Larry Rivers The Last Civil War Veteran, 1970 Silkscreen and mixed media collage on paper 29 × 19 3/4 inches Hand signed and numbered 55/100 in graphite pencil lower front Provenance...

R.B. Kitaj Hail thee who play (Michael McClure), 1969 Silkscreen, photo-silkscreen and collage on black textured paper 33 × 13 9/10 inches Edition 35/70 Pencil signed and numbered on...

Artist: Keith Haring, American (1958 - 1990) Title: New Year's Invitation 1988 Year: 1988 Medium: Silkscreen on Paper Image Size: 11 x 8 inches This bears a printed signature. It is not hand signed as issued. Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist and social activist whose work responded to the New York City street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Haring's work was often heavily political and his imagery has become a widely recognized visual language of the 20th century. Keith Haring was born in Reading, Pennsylvania, on May 4, 1958. He was raised in Kutztown, Pennsylvania, by his mother Joan Haring, and father Allen Haring, an engineer and amateur cartoonist. He had three younger sisters, Kay, Karen and Kristen. Haring became interested in art at a very early age spending time with his father producing creative drawings. His early influences included Walt Disney cartoons, Dr. Seuss, Charles Schulz, and the Looney Tunes characters in The Bugs Bunny Show. In Haring's teenage years, he left his religious background behind and hitchhiked across the country, selling vintage t-shirts and experimenting with drugs. He studied commercial art from 1976 to 1978 at Pittsburgh's Ivy School of Professional Art but lost interest in it. He made the decision to leave after having read Robert Henri's The Art Spirit (1923) which inspired him to concentrate on his own art. Haring had a maintenance job at the Pittsburgh Center for the Arts and was able to explore the art of Jean Dubuffet, Jackson Pollock, and Mark Tobey. His most critical influences at this time were a 1977 retrospective of the work of Pierre Alechinsky and a lecture by the sculptor Christo in 1978. Alechinsky's work, connected to the international Expressionist group CoBrA, gave Haring confidence to create larger paintings of calligraphic images. Christo introduced him to the possibilities of involving the public with his art. Haring's first important one-man exhibition was in Pittsburgh at the Center for the Arts in 1978. He moved to New York to study painting at the School of Visual Arts. He studied semiotics with Bill Beckley as well as exploring the possibilities of video and performance art. Profoundly influenced at this time by the writings of William Burroughs, he was inspired to experiment with the cross-referencing and interconnection of images. He first received public attention with his public art in subways. Starting in 1980, he organized exhibitions at Club 57, which were filmed by the photographer Tseng Kwong Chi. Around this time, "The Radiant Baby" became his symbol. His bold lines, vivid colors, and active figures carry strong messages of life and unity. He participated in the Times Square Exhibition and drew animals and human faces for the first time. That same year, he photocopied and pasted provocative collages made from cut-up and recombined New York Post headlines around the city. In 1981, he sketched his first chalk drawings on black paper and painted plastic, metal, and found objects. By 1982, Haring had established friendships with fellow emerging artists Futura 2000, Kenny Scharf, Madonna and Jean-Michel Basquiat. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world. His "Crack is Wack" mural, created in 1986, is visible from New York's FDR Drive. He got to know Andy Warhol, who was the theme of several of Haring's pieces, including "Andy Mouse". His friendship with Warhol would prove to be a decisive element in his eventual success. In December 2007, an area of the American Textile Building in the TriBeCa neighborhood of New York City was discovered to contain a painting of Haring's from 1979. In 1984, Haring visited Australia and painted wall murals in Melbourne (such as the 1984 'Detail-Mural at Collingwood College, Victoria') and Sydney and received a commission from the National Gallery of Victoria and the Australian Centre for Contemporary Art to create a mural which temporarily replaced the water curtain at the National Gallery. He also visited and painted in Rio de Janeiro, the Musée d'Art Moderne de la Ville de Paris, Minneapolis and Manhattan.[9] He became politically active, designing a Free South Africa poster...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

Kehinde Wiley Andries Stilte oversized beach towel, 2008 Silkscreen on 100% Cotton Large Beach Towel or hanging tapestry 70 × 60 inches Edition of 2000 In original packaging with ta...

Tracey Emin BBC 4 textile (HAND SIGNED and dated by Tracey Emin), 2002 Limited edition screenprint on linen (uniquely signed and dated 2017 in pencil) Pencil signed and dated 2017 on...

Brigitte Bardot Large edition Charcoal and black glitter Screen print on 300 gsm Somerset Satin Paper Edition of 10 Price is for unframed, we are happy to coordinate framing for this piece at an extra cost. This new larger ‘Sparkle edition’ Brigitte Bardot is limited to just 10 and will create an impact on any wall. Originally released as a smaller print, it was dubbed ‘Beautiful, original and certainly collectable’ in the Sunday Times Style Magazine ‘, and was an instant sell out. The print features Emerson’s signature elongated figure combined with a delicate textural surface, which combines a unique black glitter and charcoal powder finish. Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s work is widely collected and exhibited both in the UK as well as internationally, through galleries, art fairs and museums. She has also worked with brands and individuals including Harvey Nichols, The Ivy Club, Sony, Triumph Underwear, Redbull, P&O Cruises, and Annoushka jewelry...

Kehinde Wiley Christian Martyr Tarcisius (El Hadjii Malick Gueye), Limited Edition skate deck, 2022 Color silkscreen on limited edition maple wood Skateboard Skate Deck Signed in pla...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Mr. Brainwash Einstein Love is the Answer 2023, is a vibrant and stimulating work featuring Albert Einstein, a pillar of history and modern...