New River Fine Art

Color lithograph, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing...

Color lithograph, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing ships, as seen in traditional American tattoo design. Along with sails, they’re rigged out with trellis forms. Both themes have fascinated me since childhood. The house I grew up in was surrounded by trellises. Our small beachfront town was part of Newport Harbor in Southern California, where I saw many varieties of sailing craft. At ten, when I became transfixed by traditional American tattooing...

Color lithograph with collage, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing...

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

Sarah Morris November 2021, 2021 Lithograph on wove paper Accompanied by a certificate of authenticity - hand signed by Sarah Morris (the artist) as well as the head of ICA Editions...

Artist: Jonas Wood Title: Large Shelf Still Life Year: 2017 Medium: Poster Technique: Offset lithograph printed in colours on wove paper, the full sheet printed to the edges Classifi...

TENOR SERMON is a limited edition color lithograph by the renowned African American artist Romare Bearden(September 2, 1911 – March 12, 1988), printed on ...

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Sleeping With the Fishes is a lithograph on paper, 9.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 171/275 (there were also 100 Roman a...

Ed Paschke BAD, 1991 Silkscreen and Lithograph on Rising Mirage Paper, accompanied by documentation Pencil signed, titled "BAD", and annotated "Trial Proof" on the front 22 × 20 inches Unframed Also accompanied by gallery issued Certificate of Guarantee This work is a unique Trial Proof on Rising Mirage Paper, pencil signed by the artist and annotated "Trial Proof" the very first impression, aside from the regular edition. It is accompanied by the tirage sheet, with the biography of the artist and a description of the work. (see photos). As such it is a rare impression. Published by Chicago Serigraphic Workshop and Artco, Incorporated Ed Paschke Biography: Ed Paschke was born in Chicago where he spent most of his life as an important painter. He was initially associated in the late 1960s with the second generation of Chicago Imagists who called themselves The Hairy Who. He received his B.F.A. from the School of The Art Institute of Chicago in 1961 and his M.F.A. in 1970. Between degrees he lived for a time in New York where he easily came under the influence of Pop art, in part, because of his interests as a child in animation and cartoons. His fascination with the print media of popular culture led to a portrait-based art of cultural icons. Paschke used the celebrity figure, real or imagined, as a vehicle for explorations of personal and public identity with social and political implications. Although his style is representational, with a loose affiliation to Photorealism, Paschke’s art plays...

Francisco Toledo Caimanes I (Caymans I), not dated Lithograph Unframed dimensions: 17 x 20.5 inches Framed dimensions: 26.5 x 33 inches Edition: Estado III, VII/XIV