Framed More Prints

Harry's Corner, on the Wildwood Boardwalk. Taken in April 2013, this picture was first executed in Richard's darkroom in October 2020, he prints it full frame showing the AGFA Ultra ...

Debossed archival pigment print on surface Gampi Chine collé to Strathmore Bristol. Published in 2012 by Lincoln Center’s Vera List Art Project, New York, to commemorate the project’...

Note: Due to the size, weight, and value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reliable handling. While standar...

Private Booths, New York City street neon. This artwork is part of Richard's portfolio of street photography he is building up which depict the colour, ...

I've Left My Love Far Behind. Their Smell, Every Memento…, 2010 by Takashi Murakami Offset print, signed and numbered by the artist 26 ³/₁₆ × 18 ³/₄ in 66.5 x 47.5 cm Edition 105/30...

The seductive blue sky and the seductive milkshakes make you feel as if you are sitting in the car at this "Americana style" Roadhouse in Welkom, South Africa. It is typical of Richa...

'Telephone VII' part of Richard Heeps 'Dream in Colour' Series. This cool Palm Springs interior photography featuring a vintage telephone on a nightstand combines gorgeous pastel c...

Mother India, photograph by Richard Heeps taken in Delhi in 2013, this artwork perfectly represents the organised chaos of India. As books are beginning to disappear in physical form...

Made in England, from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmeri...

All That Glitters is Golden, from the Heidler & Heeps Tape Collection. The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal...

Drugs, part of Richard's portfolio of street photography he is building up which depict the colour, fabric and structure of cities with distinct style. As New York changes in the fac...

Men, photograph by Richard Heeps, from his Jersey Shore series. Taken in Wildwood, the historic Doo-Wop Town of New Jersey, this kitsch signage is perfect Pop Art and is typical of R...

Untitled, 1973 Ellsworth Kelly Screenprint, on BFK Rives paper Signed and numbered from the edition of 300 With the artist's copyright inkstamp verso From The New York Collection f...

A fine black and white silkscreen geometric print from the Kinderstern Portfolio by American artist Sol LeWitt (1928-2007). LeWitt was was born in Hartford, Connecticut, and attended...

"De Haan Kiss" from "A Portfolio of Landscapes and Figures" offset lithograph. Image of swimmers in pool under dome. Massimo Vitali Steidl Verlag, Götting...

Using a combination of silkscreen printing, foil block, and glaze, this print of 'Til Death Do Us Part Skull' creates a distinctive texture and visual allure that enhances its powerf...

Artist: Salvador Dali Title: Jude (Excalibur) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 38/350 Frame Size: 29 7/8" x 26 ...

"The Doorway of Baalbec" is a 19th century full folio sized duotone lithograph, representing plate 81 in the Egypt and Nubia volumes of David Roberts’ large folio edition, published ...

ARTIST: Salvador Dali TITLE: Astronauts MEDIUM: Lithograph SIGNED: Hand Signed EDITION NUMBER: EA MEASUREMENTS: Paper: 30" x 22" Frame: 37" x 35" YEAR: 1969 FRAMED: Yes, this...

Artist: Joan Miro Title: La Foundation Marguerite et Aime Maeght Medium: Lithograph Date: 1964 Edition: Unnumbered Frame Size: 21 1/4" x 17 1/4" Sheet Size...

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

Shirin Neshat (b. 1957) is a renowned Iranian-American photographer and visual artist. Neshat is acclaimed for her poignant images exploring gender and cultural identity frequently c...

Elektronik, pop art from the Heidler & Heeps Tape Collection The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal past and...

_ _ ADA, Italian street photography from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project at the Affor...

Artist: Joan Miro Title: Plate II Portfolio: Lithographe III Medium: Lithograph Date: 1977 Edition: Unnumbered Frame Size: 19 5/8” x 16 3/4” Sheet Size: 13" x 10" Signature: Unsigned...

Artist: Andy Warhol Title: Untitled (Plate 15) Portfolio: 1956 In the Bottom of My Garden Medium: Offset lithograph and watercolor on paper Date: 1956 Frame Size: 15 3/4" x 18 3/8" ...

This beautiful 19th century framed hand-colored engraving is entitled "St. Michael's Mount, Cornwall" by J. Saddler after an original painting by the British artist Myles Birket Fost...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "Silver Rock Melon", drawn and engraved by George Brookshaw and published in London in 1812 as plate 67 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a Silver Rock Melon still on the vine, but the melon lies on a heater green mat. A wedge of the melon has been dissected to reveal its inner anatomy, including the seeds. The melon skin is a heather and light green color, while the inner portions are a light peach color. The vine and leaves are shown attractive shades of light green and there are soft yellow flowers. The plant is displayed on a light brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There are wide white margins. The title and inscription lies within the lower border. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick heather green mat. The frame measures 25.75" high, 21.5" wide and 1.13" deep. It is glazed with UV conservation glass. There is a short thin vertical line of discoloration in the lower margin through the word "melon" and a tiny spot in the upper margin on the left. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. t depicts a cluster of grapes. The two prints would make a striking display pairing...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "I'm So Tired," first released on the Beatles "White Album" in 1968. This limited edition was release...

Artist: Andy Warhol Title: Untitled (Plate 17) Portfolio: In the Bottom of My Garden Medium: Offset lithograph and watercolor on paper Date: 1956 Frame Size: 15 3/4" x 18 3/8" Sheet ...

Artist/Designer; Manufacturer: Mel Bochner (American, 1940-2025) Marking(s); notes: signed; ed. 12/30; 2022 Materials: silkscreen on Lanaquarelle paper with diamond dust Dimensions (...

Amy Melious (Canadian, b. 1956) Leaves and Branches Series – Set of Four Signed Botonical Prints -Framed and Matted This sophisticated set of four botanical prints forms part of Amy...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "White Hamburgh Grape", drawn and engraved by George Brookshaw and published in London in 1812 as plate 60 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a cluster of pale green grapes still on the vine. The vine and leaves are shown in attractive shades of green and brown. The plant lays on a brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There is a light brown title rectangle in the lower center which is blank, suggesting this may be a more rare preproduction proof. There are wide white margins. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick light beige mat. The frame measures 26" high, 22" wide and 1.13" deep. It is glazed with UV conservation glass. There is a tiny spot in the lower margin on the left and another in the left margin. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. It depicts a Silver Rock Melon. The two prints would make a striking display pairing...

Charles-Éduard Jeanneret, known as Le Corbusier, was a Swiss architect and designer who is generally regarded as a key figure in the development of modern architecture, his work bein...

Andrew Scott, Backfire, 2024 Print on Etching cotton Rag with Hand Burnt Frame 45 x 33 cm (17 7/10 × 13 in) Edition 239 of 250 Framed in open-grain black wood Signed and numbered la...

This is a framed 16th century map and city view of Canterbury, England entitled "Cantuarbury" by Braun & Hogenburg, from their famous landmark atlas of city views 'Civitates Orbis Terrarum' (Atlas of the Cities of the World), which was first published in Cologne, Germany in 1572. The map of Canterbury was first published in 1588. It depicts a detailed birdseye view of the completely walled and fortified city of Canterbury, with its cathedral the most prominent feature. The coat of arms of England, Canterbury, and the Archbishop of Canterbury are included. This beautifully hand-colored map is presented in a gold-colored wood frame with a beaded inner trim and a paprika-colored mat that highlights details in the map. The frame measures 18.75" high by 22.25" wide by 0.875" deep. There is a central vertical fold, as issued. The map is in excellent condition. Braun and Hogenberg's 'The Civitates Orbis Terrarum' was the second atlas of maps ever published and the first atlas of cities and towns of the world. It is one of the most important books published in the 16th century. Most of the maps in the atlas were engraved by Franz Hogenberg and the text, with its descriptions of the history and additional factual information of the cities, was written by a team of writers and edited by Georg Braun. The work contained 546 bird-eye views and map views of cities and towns from all over the world. It gave graphic representation of the main features of the illustrated cities and towns, including the buildings and streets. Although the ordinary buildings are stylized, the principal buildings are reproduced from actual drawings created on location. The principal landmarks and streets can still be recognized today. In addition, the maps often include the heraldic arms of the city, the nature of the surrounding countryside, the important rivers, streams and harbors, even depicting stone bridges, wooden pontoons, flat-bottomed ferries, ships and working boats, wharves and jetties, as well as land-based activities, including horsemen, pedestrians, wagons, coaches, and palanquins. Small vignettes are often included which illustrate the trade, occupations and habits of the local inhabitants, such as agriculture, paper-making and textiles, as well as local forms of punishment, such as gibbets, wheels, floggings etc. Large figures dressed in their local costume are often presented out of proportion in the foreground. The aim of the authors was to give as much information as possible in a pleasing visual form. They succeeded in creating maps that were both informative and decorative works of art. The atlas is a wonderful glimpse of life in medieval Europe. Georg Braun (1541-1622) was German Catholic...

Artist: Donald Sultan Title: Acanthus Portfolio: 1994 Fruit and Flowers III Medium: Screenprint Date: 1994 Edition: 39/125 Frame Size: 29 3/4" x 28 3/4" Sheet Size: 23" x 22" Image S...

Robert Indianna (American, 1928-2018) 4 Americans in Paris, 1970 Screenprint Framed: 46 1/4 x 23 x 3/4 in. Signed in the plate: (c) R Indiana 1970 Published by American Image, distr...

Algiers Motel Apartments, photograph from Richard Heeps' Dream in Color series. This visually arresting artwork captures the essence of a sunbathed, mid-century modern apartment str...

Artist: Jean Helion Title: Untitled Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature: U...

Artist: Josef Albers Title: Homage to the Square Medium: Screenprint Date: 1977 Edition: 1500 Image Size: 8 1/4" x 8 1/4" Sheet Size: 9" x 9 1/2" Frame Size: 14 7/8" x 14 7/8" Signat...

After JOSEPH MARIA OLBRICHT (1867-1908) DARMSTADT POSTER, 1901, (In Mascha, no. 9) One of the founding members of the Vienna Secession and a highly esteemed architect, Olbricht was c...

Louise Nevelson (1899-1988) Dusk in August (1967) Lithograph with embossing Size: 17 x 22.25 in (43 x 56.4 cm) Frame size: 21.75 x 26.75 in (55.25 x 67.95 cm) Edition of 100, this i...

Artist: Marc Chagall Title: Profile and Red Child Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 20 1/2" x 17 1/2" Image Size: 12 1/2...

Peace & Dove Metal Sign Screenprint Comes ready to hang and the Certificate Of Authenticity is on the verso. Edition Details: Year: 2021 Class: Street Art Print Metal Sign Status: O...

Rare Limited Edition Serigraph of John Lennon's most famous self portrait. originally drawn in 1968, this limited edition was released by Bag One Arts (The Lennon Estate) in 1990, a...

STEVE KAUFMAN – "ABRAHAM LINCOLN" ⚜ Serigraph on Canvas ⚜ Initialed Verso ⚜ Edition 48/50 AP ⚜ Black Float Frame VIBRANT POP ICONOGRAPHY OF AN AMERICAN LEGEND This bold 1990 serigra...

William Turnbull 1922-2012 The Fugue Suite VI, 1971 screenprint 58 x 79 cm 22 7/8 x 31 1/8 in signed, dated and inscribed verso, edition of 75 William Turnbull was born in 1922 in D...

Elegantly framed and ready to hang! Frank Stella Luis Miguel Dominguin, from the Aluminum Series Lithograph and silkscreen in gray and silver on Special Arjomari paper Signed, dated...

Charles-Éduard Jeanneret, known as Le Corbusier, was a Swiss architect and designer who is generally regarded as a key figure in the development of modern architecture, his work bein...

Artist: Joan Miro Title: Joan Miro (Plate 7) Portfolio: Joan Miro Medium: Lithograph Date: 1956 Edition: Unnumbered Frame Size: 15 1/4" x 21 1/2" Sheet Size: 9" x 15" Signature: Unsi...

This artwork titled "Bridge" 1980 is an original color serigraph by American artist Darryl Sapien, b.1950. It is hand signed, dated and numbered 10/31 in pencil by the artist. The sheet size is 28.25 x 21.85 inches, framed size is 30 x 23.65 inches. It is framed in a black metal frame. The artwork is in excellent condition, the frame has minor scratches. About the artist: Selected exhibitions. San Francisco Art Institute, B.F.A., Sculpture 1974 "Introductions 74," Hansen-Fuller Gallery, San Francisco, California (Group Exhibition) 1976 San Francisco Art Institute, M.F.A., Sculpture 1976 "17 Artists, Hispano/Mexican American/Chicano," The Mexican Museum, San Francisco, California (Group Exhibition) 1976 "Other Sources," San Francisco Art Institute, (catalog)(Group Exhibition) 1977 "Work in Progress,” Union Gallery, San Jose State University, San Jose, California (catalogue) 1977 "Painting and Sculpture in California: The Modern Era," (catalog) San Francisco Museum of Modern Art & The Gallery of the National Collection of Fine Arts, Washington, D.C. (Group Exhibition) 1977 "Tokyo-Bay Area Exchange," Kanagawa Prefectural Hall, Tokyo, Japan (Group Exhibition) 1977 "Arte Fiera di Bologna," Bologna, Italy (Group Exhibition) 1978 "California-Hawaii Biennial," San Diego Fine Arts Gallery, Honolulu Museum of Art, Honolulu, Hawaii (Group Exhibition) 1979 “Darryl Sapien, Recent Work,” Gallery Paule Anglim, San Francisco, California 1979–1980 "From Self-Portrait to Autobiography," Neuberger Museuem, Purchase, New York, New Gallery of Contemporary Art, Cleveland Ohio (catalog) (Group Exhibition) 1980 "Space/Time/Sound: A Decade in the Bay Area," San Francisco Museum of Modern Art (catalog) (Group Exhibition) 1981 "19 Artists, Emergent Americans," Solomon R. Guggenheim Museum, New York City (catalog) (Group Exhibition) 1981 "La Vue Independante," The American Center, Paris France (Group Exhibition) 1981 “American Roulette”, Solomon R. Guggenheim Museum, New York, NY (Performances) 1982 "California Art on the Road," Laguna Beach Museum of Art, Laguna Beach, California (Group Exhibition) 1984 “Darryl Sapien at Studio Ink,” San Francisco, California 1984 "Crime and Punishment," Triton Museum of Art, Santa Clara, California (Group Exhibition) 1984 "Artists and the Theater," Phillipe Bonnafont Gallery, San Francisco, California (Group Exhibition) 1985 "The Twentieth Century," San Francisco Museum of Modern Art (Group Exhibition) 1985 Contemporary Art, 30,000 B.C. to the Present," San Jose Institute of Contemporary Art, San Jose, California (Group Exhibition) 1987 "Connotations," Southern Exposure Gallery, San Francisco, California (Group Exhibition) 1988 “Darryl Sapien: Artspace Painting Grant Award” Artspace Gallery, San Francisco, California (catalogue) 1988 "Digital Visions: Computers and Art," Everson Museum of Art, Syracuse University, New York (catalog) (Group Exhibition) 1989 "Darryl Sapien and David Flipse" Riskin-Sinow Gallery, San Francisco, California (Group Exhibition) 1990 "The Written Word," Richmond Art Center, Richmond, California (Group Exhibition) 1991 "Four Hispanic Artists," San Francisco Art Commission Gallery (Group Exhibition) 1994 “Darryl Sapien: Recent Work,” Opts Art, San Francisco, California 1995 "Facing Eden: One Hundred Years of Landscape Art in the Bay Area," M.H. DeYoung Museum, San Francisco, California (Group Exhibition) 1996 “Darryl Sapien,” City College of San Francisco 2003 "Reactions, Artists Respond to September 11, 2001," Library of Congress, Washington, D.C. (Group Exhibition) 2005 “Darryl Sapien,” Swallowtail Gallery, San Francisco, California 2010 "75 Years of Looking Forward" San Francisco Museum of Modern Art (catalog) (Group Exhibition) 2010 “Radical Light,” U.C. Berkeley Art Museum (catalog) (Group Exhibition) 2011 “State of Mind: new California Art circa 1970” (catalog) Orange County Museum of Art, California (Group Exhibition) 2012 Berkeley Art Museum, U.C. Berkeley, California (Group Exhibition) 2012 Belkin Gallery, University of British Columbia, Canada (Group Exhibition) 2013 Site Santa Fe, NM (Group Exhibition) 2013 The Bronx Museum of the Arts, NY (Group Exhibition) 2013 “Son of War Games”, The Bronx Museum of the Arts, New York, NY (Performances) 2013–2014 The Smart Museum, Chicago, IL (Group Exhibition) 2014 "The site a live" San Francisco Art Institute (Group Exhibition) 2015 "Out Of This World," Bonnafont Gallery, San Francisco, California Public Collections Solomon R. Guggenheim Museum, New York City San Francisco Museum of Modern Art, San Francisco, California Berkeley Art Museum, University of California, Berkeley The Oakland Museum, Oakland, California The American Academy of Opthalmology, San Francisco, California National Automobile and Casualty Insurance Company, Pasadena, California City and County of San Francisco-Public Utilities Commission Building Performances “Synthetic Ritual”, San Francisco Art Institute “Initiation”, San Francisco Art Institute “War Games”, corner of Third & Howard Street San Francisco, California (outdoor sitespecific) “Split-Man Bisects the Pacific”, the ruins of Sutro Baths...

News Stand, from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable Art Fair Milan 2019 and the series is...

Artist: Pablo Picasso Title: Square Head of a Woman Half Smiling (Plate XII) Portfolio: Carmen Medium: Original etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" ...

Artist: Salvador Dali Title: Mark (Merlin the Magician) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 38/350 Frame Size: 29 ...

'NOMAD IV (Film Rebate)', New York. Richard Heeps has photographed the iconic Empire State building in the mist. The NOMAD sequence of photographs capture the art deco architecture i...

Rare Limited Edition Serigraph of John Lennon's "Borrowed Time" drawing, which is one of the very few drawings that John saved where he is playing music. This limited edition was r...

Foyer IV, from Richard Heeps series A Short History of Milan which began as a special project for the 2018 Affordable Art Fair Milan. It was well received and the artwork has become ...

GAMY and MONTAUT, Ernest. Cycles Motos Alcyon. [Paris: Mabileau & Co., c. 1914]. Hand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x 49.2cm. The Gamy-Montaut ...

Acclaimed contemporary fine art photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record ...