Horizontal Still-life Prints

Technical Information: James Rosenquist While the Earth Revolves at Night 1982 Pastel and pencil on paper 36 1/2 x 72 1/4 in. Unique Signed, dated, and titled Additional Technical ...

Screenprint with diamond dust, 1980, on Arches Aquarelle (Cold Pressed) paper, signed and numbered in pencil, verso, from the edition of 60 (there were also 10 artist’s proofs), printed by Rupert Jason Smith...

Created by the artist in 2002, Six Yellows is a screenprint in colors with flocking on wove paper. Hand-signed, titled, dated, and designated as "BAT 1/2" from the edition of 60 + 2 ...

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

Large, bold and stunningly beautiful – Silver Poppies, by Donald Sultan is a stunning screenprint on museum board, the artwork monogrammed, titled, date...

Large, bold and stunningly beautiful – Red Poppies, by Donald Sultan is a stunning screenprint on museum board, the artwork monogrammed, titled, dated and ...

Signed, dated, and numbered in pencil.

Tom Wesselmann, (1931-2004) "Still Life" (Stilleben) 1988 Porcelain with Polychrome Ed. 169/299 Porcelain Size: approx. 13 x 14 inches Overall Size: approx. 18 3/4 x 20 inches Foun...

Signed in pencil, an artist's proof aside from the edition of 75. Printed at Kelpra Studios, London. Published by Waddington Graphics, London. (Dempsey 64).

Signed in pencil, numbered from the edition of 75. Printed at Kelpra Studios, London. Published by Waddington Graphics, London. (Dempsey 57).

Signed, numbered and dated by the artist, a unique variant from the edition of 100. Printed on Somerset 300 gsm Velvet paper by Paupers Press, London. Published by Counter Editions, ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Untitled (Flag), 2013 Archival pigment print 26 1/4 × 43 in (66.7 × 109.2 cm) Edition of 36

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City. He was three years old when the terrible explosion occurred there and can remember the terrifying confusion and 'the beautiful red sky and objects flying everywhere in the air.'" (Reynolds, p. 25) While growing up in Texas City, Valton's father worked in auto repair, and was known for his skill in mixing colors for paint jobs. After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) “World of Watermelons” is plate number 19, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. Of “World of Watermelons”, Tyler said “The title here does not represent my own associations with this print. Friends simply began referring to it as ‘the watermelon print...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Artist: Roy Lichtenstein Title: The Oval Office (C. 277) Year: 1992 Medium: Screenprint on Rives, signed, dated and numbered in pencil Edition: 17/175 Image: 30 x 39.25 inches ...

Blue Sonica Whisper

Born in Fort Plains, N.Y., Mark Adams (1925 - 2006) went on to attend Syracuse University, but left before graduation to study abstract art in New York with...