1973 Jean-Michel Folon Tightrope Walker/Equlibriste Surrealism Serigraph

1973

Richard Tuttle (American, born 1941) Homesick as a Nail, 1998 Medium: Set of 1 drypoint etching on wove paper and 1 silkscreen, printed in five colors on acetate on both sides, with ...

Beauty is a beautiful colored screen print on paper, realized by the Italian artist and pioneer of Abstract art  Mario Radice  (1898-1987), in 1964. Hand-signed and numbered in penc...

Gilbert & George (British, b. 1942 and 1943) The Singing Sculpture 1969-91, 1993 Medium: Relief print in colors, on aluminium foil (Dufex) flush-mounted to museum board, with screenp...

'Countdown To Violence' (2012) by Prefab77 Size 60 x 90 cm Limited Edition of 10 (#4/10) 5 layer spraypaint stencils & 1 layer gloss black screenprint, on hand painted, hand-deckled ...

Dive into the fascinating world of art with this exceptional screen print by Engeln. In her artistic work, Engeln explores multifaceted themes inspired by travel observations that sh...

In her artistic work, Engeln explores multifaceted themes inspired by travel observations, which she captures in her paintings and prints. She examines the tension between balance an...

Nature scene, Contemporary Art, Beach Scene Art, Limited Edition Print, Graphic Illustration, Serigraphy, Printmaking Art, Colorful Print Art, Modern Art, Aesthetic Art, Nude Women A...

Kimono Fabric Design Color woodcut with pochoir embellishments on fine silver mica ground. 1936 Unsigned as usual From "Ukiyoe Kosode," a deluxe limited edition album of kimono fabri...

CROMA-KOONS HUNTER (2019) by Canned 6-Color Screen Print 24 x 30 cm Edition of 25 Signed and Numbered by the Artist (4/25) "CANNED" is an art collective formed by two French artists...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...