Miami - Prints and Multiples

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil paint and collage. Unique, 1 of 1 piece. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

Work on paper, oil and collage. Limited edition. Cerj Lalonde moves smoothly from the canvas to the camera, from computers to installations, producing and showcasing an extraordinarily rich and complex body of work created during the last 30 years. His purpose is to pursue a direct, and, in each case, a different communication with the spectator. It can be said that Lalonde works as a team with himself, not only to develop his artwork, but also to sharpen his personal ideas about contemporary culture, trends... Lalonde is putting a lot of time, energy and thought into his new media and technology productive structure, where he can directly address his issues... His paintings, installations, photographs and web pages, are intended to function each in its own way, as an overt revision and critique of the contemporary art system, as they establish parallel dialogues between the artist, the public, and the curatorial values. "Lalonde, the painter" Cerj Lalonde works his painting with a conceptual approach, as an attempt to restate the validity of painting as a practice per-se. His abstract language ranges from lyric abstractionist pieces to many personal interpretations on art history masterpieces, as specific reflections upon geometric abstract paintings like Malevich´s black square series, or Albers study of color, among others. Lalonde holds many layers as an artist. His years of experience as a painter and thirst for art history and critique have helped him develop into a consciously literate artist. Formally, his domain of techniques ranges from drawing, printing, and primarily acrylic painting by means of a wild contrasting palette. But more than any type of formalism, Lalonde´s work is a strong statement about painting itself and how he approaches abstraction from a conceptual viewpoint. His paintings celebrate the power and meaning of color and texture, the imperative voice of contrast and stridence, and the million of possible solutions for a white canvas. I also see in his artwork a psychoanalytical interpretation of art, and a curiously unintentional approach to oriental philosophy appears throughout his multi sized body of work. In many of his canvas, the presence of the square has been integrated as an element of equilibrium and unity to the soul of the artwork itself. Lalonde is specifically interested in the qualities of painting as a media: “What Painting and only Painting can do”. Of all arts, painting is perhaps the most intimate and personal of art languages. It reaches the viewer at a last phase, in the gallery, or museum, or exhibition space. In the meanwhile, there is a time frame between the moment when the artist finishes his work and it gets shown. This space of time is silence. It can be said that the gap between the act of painting and its way out of the studio has had Lalonde wondering about other strategies of approaching the viewer, the critic, and to challenge the art world as a system. New media's and technology In his body of work related to the Internet, the use of language can be established as the first notable addition where the silent scream that comes from his paintings invades the screen and transforms it into words. We can feel the imperative urge to communicate. Lalonde addresses everyone and no one, and a certain/uncertain dialogue is established between him and the anonymous viewer/Web surfer/browser who reads it. Lalonde has produced multiple web sites. With this media, he has taken over a physical/nonphysical space to express his ideas about the act of seeing, of looking, and getting intoxicated by the gaze, by the sight, by the cognitive look, and the subjective one. Another interesting aspect is the inclusion of his images as an artist in several ways. For example, in SELF PORTRAIT AS A FAMOUS ARTIST he presents himself in all the archetypical attire of the romanticized representation of the artist. Lalonde has reverted all his irony and sarcasm as images that appear as brushstrokes on his Web sites. Another image that frequently appears is the sweet face of a very young woman, who looks at the browser with sweetness and nostalgia. As websites are build through layers, Lalonde has as well, constructed layers of impact, thought, and reflection, by means of the multiplicity of images that appear, ranging from his own paintings, installations, portraits, and text. He is interested in what defines art, who validates artwork, how artist’s success has a strong pull to media and critic dependency. Lalonde points out these issues as loud as a silent scream. Phrases such as the Dominance of Curatorial Ideology, Global Mono Cultural Art Discourse or Hegemony of the Global Curatorial Class are samples of titles that frame parts of his Web visual discourses. In his installations and performances such as THE NO SHOW, and WORKING TO BECOME RICH AND FAMOUS SO YOU CAN LOVE ME FOREVER, Lalonde discusses the notion of the self and identity, the artist as a social figure, and the severe critique of the contemporary art system, and society at large. He questions the validity and the ideology of the curatorial establishment, the marketing methods, and the issues of the self - as he queries the conventional paradigm of the artist. On his Web pages, Lalonde metamorphoses from an anonymous painter in his studio to a more public personae. His gaze looks at the viewer, his open mouth screams and questions the browser constantly, sometimes as an outsider and sometimes from the hypothetical voice of the viewer’s conscience. In SEEING, a photographic installation that can be considered as a milestone in his work, he presents a dark room that has many different sized eyes that are looking at the viewer. An interesting aspect of Lalonde’s digital work is the presence of a perpetual reflection that not only shows the act of seeing itself, but in a more profound way it presents the subconscious mind of the viewer. He inverts his role of an artist and establishes a dialogue with the unconscious of the spectator, both through his installations and digital art work...

PABLO PICASSO (1881-1973) Plongeurs (A. R. 378) Terre de faïence plaque, 1956, from the edition of 500, partially glazed and painted, with the Madoura and Empreinte Originale de P...

Technical Information: Josef Albers I-S LXXI b 1971 Screenprint 23 x 23 in. Edition of 125 Initialed in pencil, dated, numbered, and titled Accompanied with COA by Gregg Shienbaum ...

Technical Information: Alex Katz Straw Hat Vivien 2021 Silkscreen 80 x 44 in. Edition of 60 Pencil signed and numbered

Silkscreen in 4 colors on rives BFK paper. Signed. Dated. Numbered. We have a few editions available.

PABLO PICASSO (1881-1973) Oiseau No. 82 (A. R. 482) Ceramic plate, 1963, numbered 87/150, titled, inscribed 'Edition Picasso' and 'Madoura', partially glazed and painted.

TECHNICAL INFORMATION: Alex Katz Vivien with Hat 2021 Archival pigment ink on Innova Etching Cotton Rag fine art paper 36 x 48 in. Edition of 150 Pencil signed & numbered Accompani...

TECHNICAL INFORMATION: Alex Katz Sasha 1 2016 Archival pigment inks on Crane Museo Max paper 32 x 16 in. Edition of 90 Pencil signed & numbered Accompanied with COA by Gregg Shienb...

TECHNICAL INFORMATION: Jasper Johns 0-9 1975 Etching Aquatint 17 x 13 1/2 in. Edition of 100 Pencil signed, dated, and numbered Accompanied with COA by Gregg Shienbaum Fine Art. C...

TECHNICAL INFORMATION: Andy Warhol Mick Jagger FS 11.140 1975 Screenprint on Arches Aquarelle Paper 43 1/2 x 29 in. Edition of 250 Pencil signed and numbered by Warhol. Signed in bl...

TECHNICAL INFORMATION: Andy Warhol Brooklyn Bridge, FS 11.290 1983 Screenprint on Lenox Museum Board 39 1/4 x 39 1/4 in. Edition of 200 Pencil signed & numbered Accompanied with CO...

TECHNICAL INFORMATION: Andy Warhol Pete Rose Trial Proof 1985 Screenprint on Lenox Museum Board 39 3/8 x 31 1/2 in. Trial Proof Edition of 30 Pencil signed ...

PABLO PICASSO (1881-1973) Picador (A. R. 202 V) Terre-de-faïence plate, 1953, unique prototype molded and painted by Picasso before the edition of 300. With the Madoura Plein Feu ...

TECHNICAL INFORMATION: Red Samurai, from Octavio Paz suite 1987-88 Lithograph and linoleum cut in colors with chine appliqué on handmade Japanese Masa Dos...

TECHNICAL INFORMATION: Andy Warhol Geronimo, from Cowboys and Indians 1986 Screenprint on Lenox Museum Board 36 x 36 in. Edition of 250 Pencil Sig...

TECHNICAL INFORMATION: Victor Vasarely Sinlag II 1990 Cast paper relief in colors 29 3/4 x 29 3/4 in. Edition of 120 Pencil Signed and Numbered Acc...

PABLO PICASSO (1881-1973) Scéne de Plage (A. R. 391) Terre de faïence plaque, 1956, from the edition of 450, partially glazed and painted, with the Empreinte Originale de Picasso ...

TECHNICAL INFORMATION Jasper Johns Target with Plaster Casts (Black & White) 1980-1989 Drypoint etching and aquatint 31 1/8 x 24 1/8 in. AP IV/XVI Pencil...

TECHNICAL INFORMATION Jasper Johns Cicada 1981 Lithograph 35 x 26 in. Edition of 58 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art Condition: This wor...

TECHNICAL INFORMATION Alexander Calder Acier du Constructeur, 1965 Lithograph 21 7/16 × 29 3/8 in 54.5 × 74.6 cm Edition of 75 Condition: This work is in excellent condition

TECHNICAL INFORMATION Alex Katz Twilight, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 40 x 88 i...

TECHNICAL INFORMATION Alex Katz Sunset 3, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 39 x 70 i...

Technical Information Alex Katz Sunset 2, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 42 x 46 i...

TECHNICAL INFORMATION Alex Katz Sunset 1, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 E...

TECHNICAL INFORMATION Alex Katz Sunrise, from Sunrise Sunset Portfolio 2020 Archival Pigment inks on Innova etching cotton rag 315 gsm paper 55 x 42 in...

Dr. Seuss Wisdom of the Orient Cat (Deluxe edition)Serigraph on Hand-made Japanese Paper Deluxe Edition of 250 Image Size: 58" x 29" Paper Size: 62” x 31” Adapted posthumously from ...

TECHNICAL INFORMATION Tom Wesselmann Rosemary Lying on One Elbow 1989 Laser-cut steel with alkyd oil 9 x 14 in. Edition of 45 Signed, titled, dated and numbered on verso Accompanie...

TECHNICAL INFORMATION KAWS You Should Know I Know 2015 Screenprint 37 1/2 x 32 in. Edition of 250 Pencil Signed and Numbered Accompanied with COA by Gregg Shienbaum Fine Art Condi...

TECHNICAL INFORMATION Jasper Johns Target, from the Meyer Schapiro Portfolio 1973 Screenprint on Ohiro Mimitsuki paper 23 7/8 x 16 3/8 in. A.P. of 13 Pencil signed and numbered Acc...

TECHNICAL INFORMATION Alex Katz Yellow Flags 3 2020 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 33 x 22 in. Edition of 15...

TECHNICAL INFORMATION Ellsworth Kelly Dark Gray and White 1977-1979 Screenprint and collage on handmade paper 29 3/4 x 41 5/8 in. Edition of 41 Pencil Signe...

TECHNICAL INFORMATION John Baldessari Six Rooms 1993 Suite of 6 color offset lithographs with varnish and handwritten text 21 x 17 1/4 in. each Edition of 150 Pencil signed and numb...

Hand signed numbered by the artist. Artwork was previously framed and shows mounting tape residue and spotting on verso. Front of artwork is in excellent condition. Certificate of Au...

Van de Camp Heesterbeek 2050-60 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

Van de Camp Heesterbeek 2050-42 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-12 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-37 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-41 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-30 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-22 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

Van de Camp Heesterbeek 2050-9 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

Van de Camp Heesterbeek 2050-4 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

TECHNICAL INFORMATION: Sol LeWitt Flat Top Pyramid With Colors Superimposed 1988 Silkscreen in Twenty Colors Superimposed 30 x 95 in. Edition of 30 Pencil signed and numbered Accom...

TECHNICAL INFORMATION Claes Oldenburg Pile of Erasers 1975 Lithograph 23 3/8 x 29 1/8 in. Edition B.A.T. Pencil signed and annotated B.A.T. Accompanied with COA by Gregg Shienbaum ...

From the series Cowboys and Indians. Unique screenprint in colors, 1986, on Lenox Museum Board. Hand signed and numbered by the artist. Published by Gaultney, Klineman Art, Inc., Ne...

Van de Camp Heesterbeek 2050-68 COSMONAUT 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of ...

Van de Camp Heesterbeek 2050-68 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

Van de Camp Heesterbeek 2050-30 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

Van de Camp Heesterbeek 2050-58 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archival...

Van de Camp Heesterbeek 2050-106 16 x 16 inches 40 x 40 cm Edition of 15 Archival Pigment Print on a Baryta Paper Mounted and Framed 32 x 32 inches 80 x 80 cm Edition of 7 Archiva...

TECHNICAL INFORMATION Ed Ruscha For Sale 17 Acres, from Rusty Signs 2014 Mixograph on handmade paper 24 x 24 in. Edition of 85 Pencil signed, dated & numbered Accompanied wit...

Dr. Seuss We Looked Then We Saw Him DIPTYCH Serigraph on Black Stonehenge Paper Image Size: 17" x 11" Paper Size: 21.5" x 15" Authorized Estate Edition Declared sold out by the publ...

TECHNICAL INFORMATION James Rosenquist Echo Pale, from Mirrors Of The Mind portfolio 1975 Screenprint in colors on hand made paper 24 1/2 x 34 3/4 Edition of 100 Pencil signed...

TECHNICAL INFORMATION Josef Albers MMA-1 1970 Screenprint 24 7/16 x 24 3/8 in. Edition of 100 Initialed in pencil, dated, numbered and titled Accompanied with COA by Gregg Shi...

TECHNICAL INFORMATION Alex Katz Nicole 2018 Lithograph, woodcut and screen print 36 1/2 x 80 in. Edition of 60 Pencil signed & numbered Accompanied with COA by Gregg Shienbaum ...