Untitled, the Show Is over / Christopher Wool & Felix Gonzalez-Torres, 1993

Flowing in the Right Direction from Europaeische Graphik VII, 1971; lithograph printed in colours, signed and numbered 2/65 in pencil, printed by the Curwen Studio, published by Wolfgang Ketter, with their blindstamp. Note: For a similar example see Tate PO6459 Presented in a new hardwood ebonised box frame. About the artist: Peter Schmidt...

Rare Daguerreotype print by Karl Lagerfeld made in 2013 for his project 'The Glory of Water', a series of visual compositions of the most beautiful fountains in Rome. Signed bottom r...

Mixed-media on canvas. Based on the continuity and expanding of texture. About the artist: Born in Kumamoto, Naoki Kawano is a London and Paris based Japanese artist, drawn to th...

Lithographs on arches, with initials, inscribed AP and numbered in pencil. Published by Waddington Graphics, London. In new high quality black ash box frames.

Believed to be one of only three chairs remaining that were designed for the cabinet of Deutscher Bundestag the first democratic Germany, circa 1949. Design elegance and exceptional ...

Inspired by a narrow gorge called the ‘Siq’ which is a particular way to approach Petra from the East, the winding path ends dramatically at the foot of Al-Khazneh. The base compr...

Joel Otterson - The Mighty Oak of Rock, 1993. Etching, 4/35 from the Cincinnati portfolio II published by Mark Patsfall Graphics. A good etching of a ful...

Untitled, 1981, unique embossed monotype print on handmade paper. Created at the Institute of Experimental Printmaking by lauded American artist, Sam Francis (1923-1994). The Sam Fra...

Print Pigment inkjet on HotPress Natural, 300 gsm Measures: 20.00 x 25.00 in 50.8 x 63.5 cm Edition of 108 Signed and numbered by the artist. This work is part of the Vera List Anniversary Print Portfolio, created in recognition of the exceptional legacy of philanthropist Vera List. It was the generosity of Vera and her husband Albert that enabled the founding of the Vera List Art Project at Lincoln Center in 1962, MIT's List Arts Center in 1982, and the Vera List Center for Art and Politics at The New School in 1992, among others. These institutions joined forces with Artspace and six internationally renowned artists to produce this print portfolio. This print by Fred Wilson is comprised of a mashup of flags of Caribbean nations, presenting an idea about the relationships among the people of these cultures. Fred Wilson is a conceptual artist of African-American and Caribbean descent who's primarily known for rearranging art and artifacts in museum collections to reveal the inherent racism and gender politics that are often overlooked. First gaining notoriety in the early '90s with the exhibition Mining the Museum, in which he placed a whipping post from pre-Civil War America in a gallery and surrounded it with four ornate chairs...

Edition of 175, signed and numbered Published in January 1984 by The Arion Press, San Francisco From the portfolio 'Self-portrait in a convex mirror' by John Ashbery. Immaculate cond...

Lithograph: sheet diameter, circa 45.5 cm Edition of 175, signed and numbered Published in January 1984 by The Arion Press, San Francisco From the portfolio "Self-portrait in a conve...

"Two 1992 chromogenic (c-prints) from Robert Flack’s series “Love Mind,” edition #1/3, feature ""fire circle"" and ""sword circles"". Robert Flack (1957-1993) was born in Guelph, Ontario and moved to Toronto to study at York University. After graduating in 1980 he began working at Art Metropole and as a layout artist on many General Idea-related projects including FILE Megazine. During the 80's he exhibited extensively in Canada at numerous artist-run centres and public galleries, the Cold City Gallery artist collective and the S.L. Simpson Gallery (a complete exhibition history is available on our web site). By 1990 he was exhibiting internationally, in Paris, Barcelona and Amsterdam, and was represented in New York at Feature Inc. and in Toronto at Garnet Press. His work was included in the touring group exhibition Corpus Part II curated by Bruce Grenville in 1993 for the Mendel Art Gallery in Saskatoon. A survey exhibition was curated by Nancy Campbell at the MacDonald Stewart Art Centre, with catalogue, in 1993. In 1997 Philip Monk included Flack's work in Rococco Tattoo: The Ornamental Impulse in Toronto Art at the Power Plant in 1997. In 1999 the National Gallery of Canada celebrated Flack's work to commemorate A Day Without Art, December 1999 - January 2000. ""From the beginning, Flack's work expressed an ""otherworldliness"" - a quality that focused sharply with his HIV sero-conversion in 1988. From that point forward, Flack's vision rocketed almost exclusively into the internalized realms of psychic energy, the chakras and the etheric body."" Andrew Zealley, Art Metropole, Halos: David Buchan and Robert Flack 2005. Amongst the work's many distinctions is Flack's use of pre-digital or analogue production techniques. Flack painted in enamel on clear acetate and overlaid his photographs with these painted layers before re-photographing the work, producing an ""iconic, sensual mapping of the body and dazzling use of colour and pattern"" (NGC web site). During this period he was sharing studio space in Toronto with Stephen Andrews...