Ronnie Wood Figurative Prints

Libra, by Deming King Harriman; collage, print, figurative, gold, tarot, horoscope, metallic gold edge, on glossy heavy card stock with pink design on reverse.

During the pandemic, the artist stayed for 4 months in Oaxaca on a beach called San Aguistinillo, where he developed the Sana Distancia (safe distance) c...

Celebrating the Academy in this original and limited Oscar art series by Mauro Oliveira. Limited edition of 30 museum quality Giclee prints on CANVAS, signed and numbered by the ar...

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

Screenprint in colours, 2009, on Arches wove paper. Hand signed and numbered 069/299 in brown crayon. Published by Pictures on Walls, London, with the artist's blindstamp. Certific...

“Foreign Bodies” Photography 24" x 24" inch Edition of 24 by Brian Ziff Giclee (Archival Ink) Print on Canson Platine Fibre Rag From "Rite of Spring" series In this melancholy se...

PUBLIC POOL Giclée Print on Hahnemühle_Daguerre Canvas 400g 63 x 81 cm (with frame) Edition of 100 Frame: Solid Pine L-Type - 0.7cm (front) / 4cm (side), white finish Canvas stretche...

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...

Pedro Friedeberg is a radial artist who throughout his career has always been at the forefront, as in the Renaissance and pre-Raphaelite art of the 19th century...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...

M-Maybe, from Art of the Sixties after Roy Lichtenstein, American (1923–1997) Date: 1979 (after 1965 painting) Screenprint Poster, unsigned Image Size: 34 x 34 inches Size: 55 in. x ...

The repetition of patterns and rhythm is present in almost every piece of Pedro´s work. The hybrid topographies that Pedro Friedeberg´s unclassifiable practice recreates we must rec...