Large Still-life Prints

Chromaluxe supplied with subframe ready to hang. Also available in 60 x 73 cm on paper for £1400 In 2009, Hugh was appointed the first Artist in Residence for The British Institut...

Hugh Turvey is a British artist and photographer who uses x-ray technology to create what he calls Xograms, a fusion of visible light and x-ray imagery. Hugh trained as a designer /...

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

Tony Scherman (1950-2023) is one of the most collected and distinctive Canadian artists. He is renowned internationally for his work in encaustic (a mix of wax and oil, one of the mo...

Flower bouquet design. Sealed on the back with the design studio name and number 484 We offer a small number of these original illustration designs by this design studio based in Al...

Created with a sensitive attention to color and value, this work is one of many floral motifs Braque depicted in his lifetime. Deeply saturated tones of ochre and brown express a subdued mood, while the hints of highlights convey to the viewer a sense of brightness and energy. A cluster of yellow daisies emerge from a simple ochre vase...

Hook, Sandy. (Georges Taboureau), Cie Gle Transatlantique/Chemin de fer PLM, Ville D'Alger, 1935. Color Lithograph.

"Botanical Rhapsody II" by Judith Allen-Efstathiou is an exquisite photographic cyanotype print in deep blue and white of wildflowers abstracted. Highly intricate and lavishly depic...

A large colorful still life by an Israeli artist whose work is a contemporary interpretation of a classical theme. This work is framed in either a gold wide or gold narrow frame.

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

About the Artist: Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Ca...

Expressing the talent and skill of Braque’s graphic works, this piece illustrates the artist’s remarkable ability to create imaginative abstract still lives. In this sense, Braque ha...

This is the place where I work. You can't tell me apart from the other workers in the image captured by the room's camera. When I return home, I look out the window and contemplate m...

You have read about the extraordinary donut portraits by Candice CMC on social media world-wide and we are excited and proud to represent her work. I have included in this listing a...

TISSOT, JAMES JACQUES JOSEPH (1836 -1902) L’enfant Prodigue: Frontispice (The Prodigal Son: Frontispiece) Wentworth 57 Etching, c. 1882 Signed and dated in the plate lower rightIma...

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

In 2009, Hugh was appointed the first Artist in Residence for The British Institute of Radiology, since its inauguration in 1924 and Royal Charter granted by Her Majesty the Queen in...

OPAC The Organization of Photorealist Artists and Collectors presents Seltzer, a signed and numbered giclee on canvas by famed photorealist Mark Schiff. This piece is 28" x 34". The ...

Charles Pachter (b. 1942) is one of the most collected and cherished Canadian artists. His iconic, uplifting, and patriotic images have independently earned their place in the nation's museums and the Canadian art canon. The barn, along with Queen Elizabeth and the Moose, forms a triad of icons that Charles Pachter has repeatedly visited over the course of his career. Playful and a touch irreverent, Pachter's charming imagery presents a new narrative on Canadiana. The artist’s vast body of work includes painting, sculpture, printmaking, and drawing. Pachter’s works are widely sought-after and are an ideal selection for starting or continuing a collection of 20th-century Canadian art. Pachter's confident colors, sharp lines, and graphic qualities are instantly recognizable and continue to be a mainstay throughout his oeuvre. Here with an image of the classic TTC (Toronto Transit Commission) streetcars, this work epitomizes Pacther’s version of Canadian Pop Art...

Combining the organic with the technical, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts a plough against a background of graphing squares. The plough appears as if in wate...

Dionisios Fragias is a New York -based artist born on the Greek island of Kefalonia and raised in New York City. He is the protege of the artist Jeff Koons whose years-long mentorshi...

Technical Information: Andy Warhol Flowers, FS II.67 1970 Screenprint 36 x 36 in. Edition of 250 Signed and stamped number on verso

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 ...

Artist: Charles Bell Title: The Viking Year: 1994 Medium: Silkscreen on Bristol Rag Museum Board, Signed and numbered in pencil Edition: 2/50 Image: 24 x 34...

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...

Tom Wesselmann is considered one of the major artists of New York Pop Art, along with Roy Lichtenstein and Andy Warhol. Best known for his 1960s series “Great American Nude,” which f...

From 'Glass Wishes'. Signed, titled and dated in pencil. Numbered from the edition of 59. Printed and published by Gemini G.E.L., Los Angeles.

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, ...

Hand-Signed and dated Lower Right Original screenprint poster in yellow, red, blue an black on white wove paper. Designed by the artist for a traveling exhibition for the Saint Lou...

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...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

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...

Andy Warhol Flowers (FS II.70), 1970 silkscreen on paper 36 x 36" ed. of 250 signed in ball point pen and numbered with a rubber stamp on verso

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...