Pop Art Art

Andres Conde at play with his favorite subject, women. Here the artist creates a beautiful and coy femme fatale in pop realism. Sul Americana is Portugues...

Mr. Chuck Berry by Red Grooms, American (1937) Date: 1978 Screenprint with 3-D "Dancer", signed and numbered in pencil Edition of 127/150 Image Size: 24 x 18.25 inches Size: 33 x 26 ...

The past and present of “Living the Dream” make the case for the way art and its language of color, line, and shape enrich a viewer’s experience of the work and offer a delicate bala...

Tracey Emin: I Lay Here For You (Hand signed and dated book), 2022 Hardback monograph (hand signed and dated by Tracey Emin) on Munken Lynx Smooth Natural White 170 gsm with endpapers of Colorplan Candy Pink 135 gsm; matt laminate printed cover with black head and tail bands Hand signed and dated by Tracey Emin on the title page. 9 × 6 3/4 × 2/5 inches Unframed Hardback monograph with illustrated boards and no dust jacket as issued, hand signed by Tracey Emin. A beautifully designed publication I Lay Here For You, sumptuously illustrated and with a fascinating essay by Katy Hessell, author of The History of Art without Men. About the project: Tracey Emin’s first Scottish show since 2008, I Lay Here For You (28 May – 2 October) will offer an intimate encounter with love and hope set against the domestic architecture and informal woodland of Jupiter Artland. Imbued with connotations of both warmth and vulnerability, resonating with Tracey Emin’s belief of the ‘personal as political’ the exhibition will feature brand new work by the artist reflecting on the possibility of love after hardship. Tracey Emin’s participation in Jupiter Artland’s 2022 season begins with the unveiling I Lay Here For You, a six metre bronze sited personally by the artist in an old-growth beech grove. Larger than life, powerful and at ease, the sculpture presents a radically different view of woman’s place...

Patrick Caulfield's cheeky, Pop Art take on a seaside favorite, dressed lobster, abstracted in graphic black strokes atop a field of red decorated with tiny sprigs. Signed by the art...

KAWS Holiday Changbai Mountain (KAWS white Changbai): A beautifully composed snowy-white KAWS COMPANION published to commemorate KAWS' larger-scale sculpture of same, at Changbai Mo...

Artist: George Rodrigue Title: Dog on a Stump Medium: Silkscreen Year: 1996 Edition: 32/75 Framed Size: 39" x 33" Sheet Size: 30" x 21" Signed: Hand signed and numbered in silver ink...

**ANNUAL SUPER SALER UNTIL JUNE 15TH** *These Prices Won't Be Repeated Again this Year-Take Advantage of it* The original "New Orleans IceCream Festival" piece is a ...

Kenny Scharf Original drawing on Tony Shafrazi poster, signed and inscribed to Andy Warhol's last boyfriend Jon Gould, 1984 Permanent marker drawing on Kenny Scharf Tony Shafrazi Gallery exhibition poster (hand signed and inscribed by Kenny Scharf) Boldly signed and inscribed to Andy Warhol's last boyfriend Jon Gould Frame included: Framed in a museum quality wood frame with UV plexiglass. Measurements: Frame: 35 x 28.5 x 1.5 inches Print 28.25 x 22 inches Own a piece of Pop Art history! This is a unique drawing hand signed and inscribed by Kenny Scharf, done on a vintage collectible 1984 poster from the legendary Tony Shafrazi Gallery. If you saw "The Andy Warhol Diaries" on Netflix, you'd know about Warhol's relationship with Jon Gould - Andy's last boyfriend; tragically, Warhol would become Gould's last boyfriend as well, when, soon after, Gould would die of AIDS at the young age of 33 Kenny Scharf created an original drawing, done in marker, and inscribed it to Jon Gould (featured prominently in Andy Warhol's Diaries and the eponymous Netflix series) - and it had not been seen since the 1980s. Jon Gould was a New England educated former Vice President of Corporate Communications at Paramount Pictures - a Boston Brahmin whose real claim to fame was as Andy Warhol's last boyfriend. This work was acquired from the widely publicized sale of the collection of Jon Gould - -a treasure trove of valuable gifts and art works by Warhol and others like Kenny Scharf, Basquiat and Keith Haring to Gould - that had not been seen in nearly four decades. This is one of the works from that impressive sale. Below are links to two of the many articles about the collection of Jon Gould in the New York Times, Artnet News and the New York Post respectively. About Kenny Scharf: Kenny Scharf (b. 1958, United States) is a renowned artist affiliated with the 1980’s East Village Art movement in New York. Scharf developed a distinct and uniquely personal artistic style in paintings as well as sculpture, alongside his mentor Andy Warhol, and contemporaries like Jean-Michel Basquiat and Keith Haring with whom he pioneered contemporary street art. References to popular culture reoccur throughout his works, such as appropriated cartoon characters from the Flintstones and Jetsons, as well as imagined anthropomorphic creatures. Through ecstatic compositions and a dazzling color palette, Scharf presents an immersive viewing experience that is both intimate and fresh. Scharf’s multifaceted practice—spanning painting, sculpture, installation work, murals, performance and fashion—reflects his dedication to the creation of dynamic forms of art that deconstruct existing artistic hierarchies, echoing the philosophy of Pop artists. Yet Scharf’s artistic significance expands beyond the art historical terrain of Pop Art; the artist instead coined the term “Pop Surrealist” to describe his one-of-a-kind practice. His inclusion in the 1985 Whitney Biennial marked the start of his international phenomenon, a reputation that continues to thrive today. Courtesy of Almine Rech MORE ABOUT JON GOULD: Warhol wrote extensively on Jon Gould in his diaries. In July, 2022, when the Netflix series "The Andy Warhols Diaries" came out, the New York Post (among many other publications) ran a major feature article on Warhol's relationship with Gould and on this very sale: It reads, "When Harriet Woodsom Gould died in 2016 in her nineties, she left behind a trove of family heirlooms dating back to the 1700s in her Amesbury, Mass., home. Yet in her attic, she had a secret veritable shrine to pop art. There, she had stashed her late son Jon Gould’s belongings for decades since his death in 1986 from AIDS. He had vases painted by Jean-Michel Basquiat, works by Keith Haring and dozens and dozens of gifts — photos, valentines, sketches, letters and more — from pop god Andy Warhol. “My mother kept everything,” Jon’s twin brother, Jay Gould, told The Post. Jay knew his brother “had some type of relationship” with Warhol in the 1980s, though Jon always remained discreet about it. “We were very close, identical twins, but we never talked a lot about his sexuality,” Jay, now 68, explained. “It was a different time.” Yet, he was still stunned to read the poetry and love notes Jon wrote to the older artist. “I didn’t realize the relationship was as deep as it was.” Actually, no one really knew. Gould was Warhol’s last romance, a young Paramount executive with floppy hair and preppy good looks who died tragically at 33. And though Warhol frequently mentioned him in his famed diaries, published posthumously in 1989, the artist’s dashed-off musings gave the impression that Jon was more of a crush than a genuine partner...Gould didn’t so much enter into Warhol’s life as Warhol willed him into it. It was April 1981, and Warhol, then 52, was still reeling from his breakup with Jed Johnson... Jed left that December, and that spring Warhol confessed to feeling lonely: “I’ve got these desperate feelings that nothing means anything. And then I decide that I should try to fall in love, and that’s what I’m doing now with Jon Gould.” Gould was a 26-year-old Paramount exec: a New England WASP with a lithe, strong physique and charismatic personality, who looked straight. Warhol reasoned: “Jon is a good person to be in love with because he has his own career, and I can develop movie ideas with him, you know? And maybe he can even convince Paramount to advertise in Interview, too. Right? So my crush on him will be good for business.” Warhol began courting Gould with a vengeance, sending extravagant bouquets of roses to his office at Paramount. He even offered their mutual friend, the photographer Christopher Makos, a fancy watch if he could get Gould to be his boyfriend. “I guess he never got loved,” Makos says in the series. “Because I didn’t get my watch.” (Jay Gould also tells the camera that his brother had admitted that he was in a relationship but that he said they didn’t have sex.) At first, Gould resisted Warhol’s attention, but eventually the two began spending a lot of time together, though Gould would frequently pull away if things got too intense, and he often would tell Warhol not to write about him in his diary. “I think my brother was concerned about his career at that time,” Jay Gould said. But the younger man attended parties and art events with him, invited the artist skiing with his family in Aspen and even for a time moved into his place on 66th Street. “I love going out with Jon because it’s like being on a real date,” Warhol wrote early in their relationship. “He’s tall and strong and I feel like he can take care of me.” Yet it turned out that Warhol would have to take care of Gould. On Feb. 4, 1984, Jon was admitted to New York Hospital with pneumonia — though it was understood that he had AIDS. Warhol stayed with him in the hospital every night for the 30 days he was there, despite his fear of hospitals since getting shot and his fear of getting AIDS. (Warhol couldn’t bring himself to talk about Gould’s illness in the diary, but his editor notes that when Gould was released March 7, Warhol instructed his housekeepers to wash Jon’s clothes and dishes “separate from mine.”). Around 1985, Warhol began working on his massive series of 100 works based on Da Vinci’s “The Last Supper...

Artist: George Clair Tooker, Jr., American (1920 - 2011) Title: Un Ballo en Maschera Year: 1983 Medium: Color Lithograph, signed and numbered in pencil Edition: 250 Paper Size: 22 x ...

Hand signed and numbered by the artist. Artwork is in excellent condition. Certificate of Authenticity included. Published by AMX Art Ltd., NY and printed by IZMO Productions, NY. E...

Fernando Natalici Area Nightclub 1983-1987: A collection of 16 hand-colored silver gelatin photographs spanning the history of the seminal 1980s New York nightclub known as "Area". These rare images were captured by Fernando Natalici - a noted downtown art scene photographer who is also famous for designing the majority of Area's party invites during this period. These works were exhibited at Area circa 1986 as part of show curated by Serge Becker (featured in image 4) - a key Area figurehead. A much historical & highly decorative assemblage of Area regulars defining the club's historic & vibrant scene. Further details: Medium: A collection of 16 individual hand-colored silver gelatin photographs mounted on illustration board. Overall Dimensions (applies to each individual work): 16x20 inches. Condition: Good overall vintage condition. Some scattered surface markings to margin areas. Each hand-signed on the reverse by Natalici and unique. Provenance: Obtained directly from artist. Literature/References: Area: 1983-1987 by Eric Goode Jennifer Goode (pub. by Abrams 2013). New York Magazine 2013: "It Was the Hottest Club in Town." Area: A brief history (New York Magazine 11/1/13): "Influenced equally by sixties-era happenings and the gonzo childhoods of its proprietors, Area opened its doors in 1983. The club, unlike any that came before it, underwent a painstaking transformation roughly every six weeks, with themes like Confinement, Suburbia, and Science Fiction that incorporated elaborate art installations with taxidermied bears...

Artist: Peter Max (1937) Title: Umbrella Man Year: circa 1998 Medium: Silkscreen and watercolor on archival paper Size: 12 x 13.75 inches Condition: Excellent Inscription: Signed in ...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ship...

Donald Baechler Limited edition Tony Shafrazi exhibition catalogue (hand signed and dated by Donald Baechler), 1983 Softback monograph (hand signed and dated by Donald Baechler) Bold...

Limited Edition Keith Haring spray paint can set published circa 2018 featuring the Estate trademark of Keith Haring. A unique Keith Haring collector’s set that makes for standout ho...

Da una serie di litografie pop di Mimmo Rotella, pubblicate da Plura Edizioni, Italia, risalenti ai primi anni Settanta. Firmato e numerato a matita sul fronte. Edizione 60/80 esempl...

About the artist : Naor is a French artist from Lyon born in 1988. Completely anchored in his time, he has always traveled a lot around the world. If travels form youth, Naor was ins...

Mel Ramos (born 1935) Reese's Rose, 2008 Medium: Lithograph in colors Dimensions: 93.5 x 55 cm Edition of 199: Hand-signed and numbered Condition: Mint

James Rosenquist Somewhere to Light, WACO, Texas 1966, from the New York International Portfolio Lithograph on wove paper Pencil signed and numbered 112/225 on the front Vintage fra...

Fleeting Moment (2023), 19,5x45,5 cmm Watercolor on Paper Fabriano 600 g, by Italian contemporary artist ©Annemarie Ambrosoli (ICA, International Certified Artist) Fleeting Moment ...

From a series of pop lithographs by Mimmo Rotella, published by Plura Edizioni, Italy, dating back to the early 1970s. Signed and numbered in pencil on the front. Edition 60/80 copies. Opera Proveniente da collezione privata, Italia. The piece is accompanied by a certificate of provenance issued by the gallery. Le condizioni dell'opera sono per lo più perfette: nessuna traccia del tempo, nessun graffio e margini perfettamente conservati. Il pezzo viaggia senza cornice per avere una spedizione più economica e sicura su richiesta dell'acquirente. Poiché il pezzo viaggia dall'Italia, si prega di considerare che l'espletamento delle pratiche di esportazione richiede un minimo di una settimana dal momento dell'acquisto. Mimmo Rotella, che ha rappresentato l'Italia alla Biennale di Venezia del 1964, è stato sperimentale fino in fondo: nelle sue poesie, nei suoi dipinti, nelle sue fotografie, nei suoi assemblaggi scultorei e nei suoi collage ha abbattuto le convenzioni, lasciando dietro di sé un corpus di opere stravaganti. All'inizio degli anni Cinquanta dipinge astrazioni geometriche, poi si allontana dal suo studio e si rivolge al mondo che lo circonda. Lì trovò i manifesti pubblicitari e cinematografici deteriorati, che strappò dalle pareti, attaccò alle tele e strappò ulteriormente per sviluppare composizioni semi-astratte dalle immagini dei mass media, che chiamò "doppi décollages". Grazie ai suoi collage, è stato associato a Raymond Hains, Jacques Villeglé e François...

From a series of pop lithographs by Mimmo Rotella, published by Plura Edizioni, Italy, dating back to the early 1970s. Signed and numbered in pencil on the front. Edition 60/80 copie...

Artist: Roy Lichtenstein, American (1923 - 1997) Title: This Must Be the Place (C. III.20) Year: 1965 Medium: Offset Lithograph, signed in the plate and in pencil lower right Edition...

Artist: Peter Max (1937) Title: Angel with Heart Year: 2012 Medium: Acrylic on canvas Size: 12 x 6 inches Condition: Excellent Inscription: Signed by the artist Notes: Referenced in ...

Fragmentos, 2023 Solvent transfers and acrylics on canvas Image size: 40 in. H x 30 in. W x 1.5 D Mixed media Mounted on a stretcher. _________________________________ Roberto Fonfrí...

Ed Ruscha Reading Ed Ruscha (Hand Signed by Ed Ruscha), 2012 Offset Lithograph Poster Boldly signed in black marker by Ed Ruscha on the lower front, edition of approx. 50 (unnumbered...

Artist: Peter Max (1937) Title: Protect Our Future Ver. II Year: 2002 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 13.81 x 17.12 inches Condition: Excelle...

Keith Haring Untitled drawing inscribed to David, 1988 Original drawing on paper bound in historic monograph, inscribed to David Copley Boldly signed, inscribed and dated in black marker above the drawing This is a unique work Iconic, unique radiant baby drawing...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Marilyn Monroe 7 is original oil on canvas created by Oksana Tanasiv in 2022. The size of canvas 30"X40". The artist captured iconic celebrity's seductive look who is smoking a cig...

**ANNUAL SUPER SALE TIL JUNE 15th ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* This is the ultimate homage to QUEEN BE...

Keith Haring City Cycles NYC 1985: Vintage double-sides 1980s Keith Haring City Cycles bag designed and illustrated by Haring for the legendary former downtown bike store: City Cycle...

Rammellzee vs. K-Rob Beat Bop (1983), 2014 Black & White Split Vinyl, 12", 33 1/2 RPM Limited Edition Record Store Day Reissue Get On Down – GET58009-12 Cover Art and Produced by Jean-Michel Basquiat The Offs First Record (1984), 2019 Vinyl, LP, Limited Edition Reissue CD Presents, Ltd. – CD 025 Cover art designed by Jean-Michel Basquiat 30th anniversary pressing of Basquiat's historic Beat Bop vinyl record (1983) & a limited edition 2018 reissue of Basquiat's record art for The Offs (1984). Off-set print on vinyl record jackets & vinyl records; published 2014 & 2018, each respectively. Set of 2 individual pieces. Each: 12 x 12 inches. Beat Bop: Very good overall condition. The Offs: excellent overall condition (sealed in original shrink-wrapping). Each include their respective vinyl record albums in excellent condition. Beat Bop from a sold-out edition of 1983. The Offs from a sold out edition of 1,000 (numbered on the reverse). Looks amazing framed as a set. Beat Bop includes a split color black and white vinyl pressing, a four-panel folded insert describing its history, as well as interviews with Basquiat co-collaborators Rammellzee & K-Rob; as well as noted art historian, Glenn O'Brien. Further History: Jean-Michel Basquiat’s history with rap music...

Artist: Mel Ramos Title: Tiger Girl Portfolio: 1¢ Life Medium: Lithograph Year: 1964 Edition: 2000 Image Size: 16.25 in x 11.75 in Sold Unframed

Takashi Murakami Original hand signed Flower Drawing on limited edition skateboard, 2017 Unique Flower Drawing in Marker on skateboard. Signed by Murakami Flower drawing done in marker and boldly signed by Murakami 31 × 8 × 1/4 inches The skate deck was issued unsigned, but this one was, exceptionally hand signed with a flower drawing by Murakami at Complexcon in 2017. Note measurements of 31 x 8 inches apply to each skate deck. This limited edition Murakami skate deck was created and sold exclusively at the 2017 Complexcon convention and is already considered a collectors' item. About Takashi Murakami: We want to see the newest things. That is because we want to see the future, even if only momentarily. It is the moment in which, even if we don’t completely understand what we have glimpsed, we are nonetheless touched by it. This is what we have come to call art. —Takashi Murakami Drawing from traditional Japanese painting, sci-fi, anime, and the global art market, Takashi Murakami creates paintings, sculptures, and films populated by repeated motifs and mutating characters of his own creation. His wide-ranging work embodies an intersection of pop culture, history, and fine art. Murakami earned a BA, MFA, and PhD from Tokyo University of the Arts, where he studied nihonga (traditional Japanese painting). In 1996 he established the Hiropon Factory, a studio/workshop that in subsequent years grew into an art production and artist management company, now known as Kaikai Kiki Co. Ltd. Since the early 1990s Murakami has invented characters that combine aspects of popular cartoons from Japan, Europe, and the US—from his first Mr. DOB, who sometimes serves as a stand-in for the artist himself, to various anime characters and smiling flowers, bears, and lions. These figures act as icons and symbols—hosts for more complex themes of violence, technology, and fantasy. In 2000 Murakami curated Superflat, an exhibition featuring works by artists whose techniques and mediums synthesize various aspects of Japanese visual culture, from ukiyo-e (woodblock prints of the Edo period) to anime and kawaii (a particular cuteness in cartoons, handwriting, products, and more). With this exhibition, Murakami advanced his Superflat theory of art, which highlights the “flatness” of Japanese visual culture from traditional painting to contemporary subcultures in the context of World War II and its aftermath. Murakami’s work extends to mass-produced items such as toys, key chains, and t-shirts. In 2002 he began a multiyear collaboration with Marc Jacobs on the redesign of the Louis Vuitton monogram. Murakami then took the radical step of directly incorporating the Vuitton monograms and patterns into his paintings and sculptures. While Murakami’s imagery may appear to present unprecedented characters and forms, many contain explicit art historical references, and some are even direct contemporary updates on traditional Japanese works. In 2009 Murakami and the esteemed art historian Nobuo Tsuji began a creative dialogue centered on a group of Japanese artists known as the Edo eccentrics. This collaboration led to an exhibition at the Museum of Fine Arts in Boston in 2017, for which Murakami and Tsuji selected Japanese works from the museum’s collection and showed them alongside works by Murakami. The latter included Dragon in Clouds—Red Mutation: The version I painted myself in annoyance after Professor Nobuo Tsuji told me, “Why don’t you paint something yourself for once?” (2010), a red monochrome version of the famous eighteenth-century painting Dragon and Clouds by Soga Shōhaku...

Artist: Peter Max (1937) Title: Sailboat on the Horizon Year: circa 1998 Medium: Silkscreen and watercolor on archival paper Size: 21 x 15 inches Condition: Excellent Inscription: Si...

Niki de Saint Phalle La Robe Rouge (Ulm-Chenivesse 48), 1970 Seventeen colored screenprint on Arches vellum paper Pencil signed and numbered 28/115 on the front and titled on the back by Niki de Saint Phalle, with artist's inventory number 29 1/2 × 22 inches Unframed This work is pencil signed and numbered 28/115. The back of the print, from the portfolio Nana Power, is titled in pencil " Rouge Robe" by Niki de Saint Phalle herself, but it is also known as "Nana Power: The Serpent". Bibliography: Catalogue Raisonne: Ulm-Chenivesse 48 Published Editions Essellier, Liechtenstein, printed by Michel Caza About Niki de Saint Phalle: Born 1930 in Neuilly-sur-Seine, France, Niki de Saint Phalle moved to the USA in 1933 and spent her childhood and youth in New York City. In 1952, Saint Phalle moved back to Paris and became immersed in French and ex-patriate artistic communities. Her 1961 exhibition Feu à Volonté (Fire at Will), organized by art critic and cultural philosopher Pierre Restany at Galerie J, Paris, Saint Phalle showed for the first time her iconic Shooting Paintings...

Aretha Franklin poster from a 1968 Eye Magazine issue.

Artist: Ed Ruscha (1937) Title: Angel (Engberg, 211; Tamarind, 91-319) Year: 1991 Medium: Lithograph on Arches paper Edition: 53/68, plus proofs Size: 12.07 x 16 inches Condition: Ex...

Cleopatra is a central figure in this painting inspired by Elizabeth Taylor’s role in the Hollywood’s blockbuster 1963 film as a role model for Women to reach their potential. Her gr...

Keith Haring Gay Pride New York 1986: Keith Haring illustrated folding-invitation for Gay/Lesbian Pride Day at New York's Palladium nightclub, 1986. Executed during Haring’s lifetim...

Ceravolo's just completed Mono Print with iridescent acrylic hand work is titled "YELLOW ORANGE POW" with aqua blue burst. based on his "Batman and the Movie Star" original painting on canvas. This canvas measures approx. 28x40" framed. Ceravolo has created several unique monoprints based on his "Batman and the Movie Star" painting all with different "POW" and burst colors. This one is Yellow/Orange POW with an aqua blue burst. All of these monoprints have an iridescent painted Bat Signal in the sky. One of The Hampton's most popular urban Pop artists Ceravolo's work has been exhibited alongside Warhol and Peter Max for years, his paintings are collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. This Monoprint features Batman driving his Batmobile with a sultry Movie Star sitting next to him while at the same time there is a "Bat Call" signal in the night sky signaling him that there is a need for his help in Gotham City. Along with those two distractions the gopher "G" is standing next to Batman on the side of the Bat Mobile. While this is all going on Batman is thinking...."I must concentrate on driving" Maybe this is a typical night for Batman in Gotham City. We have included in this listing an image of Ceravolo with some of his famous collectors. His paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates.

Ceravolo's just completed Mono Print with iridescent acrylic hand work is titled "PURPLE POW" with Yellow burst. based on his "Batman and the Movie Star" original painting on canvas. This canvas measures approx. 28x39" framed. Ceravolo has created several unique monoprints based on his "Batman and the Movie Star" painting all with different "POW" and burst colors. This one is Purple POW with a Yellow burst. All of these monoprints have an iridescent Bat Signal in the sky hand painted by Ceravolo.. One of The Hampton's most popular urban Pop artists Ceravolo's work has been exhibited alongside Andy Warhol and Peter Max for years, his paintings are collected by Elton John, Rod Stewart, and Alice Cooper among others. He has been call the "Rock and Roll Painter" and "Painter of the Stars of Rock" by the media. This Monoprint features Batman driving his Batmobile with a sultry Movie Star sitting next to him while at the same time there is a "Bat Call" signal in the night sky signaling him that there is a need for his help in Gotham City. Along with those two distractions the gopher "G" is standing next to Batman on the side of the Bat Mobile. While this is all going on Batman is thinking...."I must concentrate on driving" Maybe this is a typical night for Batman in Gotham City. We have included in this listing an image of Ceravolo with some of his famous collectors. His paintings can be found in many influential corporate and private collections, including: ELTON JOHN, ROD STEWART, HUGH M. HEFNER, DAVID BRENNER, MONIQUE VAN VOOREN, WARNER BROS., RCA RECORDS AND SCHENLEY INDUSTRIES to name a few. Ceravolo's art came to popular attention when he was commissioned to create five large scale paintings for the lobby of The Palladium Theatre in New York City of Jackson Browne, Linda Ronstadt, Frank Zappa, Neil Young and Hall and Oates.

Erró (born 1932 in Iceland) Les grands enfants de Mao (The Grandchildren of Mao), 2007 Medium: Lithograph in colors Dimensions: 55 x 55 cm Edition of 125: Hans signed and numbered Co...

The art "Queen Elizabeth" is Limited Edition of 25 canvas geclee prints on canvas in size 18″X24″. The print is covered by resin layer which protects the vibrancy of color pigments. ...

Hebru Brantley Beyond the Beyond, 2018. Set of 3 Hebru Brantley Flyboy’s, each new in original packaging. Medium: Painted cast vinyl. Dimensions: 9 x 8 x 4 inches (22.9 x 20.3 x 10.2 cm). Each new in its original packaging. From a sold out edition of unknown; published by Hebru Brantley, Billionaire Boys Club & BAIT. Artist Statement: "Flyboy came out of characters of colour within popular culture. I hate saying “popular culture,” but it’s really popular culture. I mean you look at cartoons. You’ve got animated sponges and ducks and birds and whatever, and it’s very rare to see a popular character within any medium that is African-American, Latino, even Asian. What I wanted to do was create that, but in a space of high art and be able to have some historical context to that character. So I looked at the Tuskegee Airmen...

Flowers at the forest, 2018 Digital pigment print Ultrachrome ink on Fabriano Rosaspina paper. Hand signed by the artist, and certificate of authenticity. Edition of 25 (Unframed) ...

Keith Haring Party of Life 1986 (Keith Haring birthday invite 1986): 
Rare original invitation silkscreened on shorts to Keith Haring’s third annual Party of Life/1986 birthday, held at New York’s, The Palladium nightclub, May 21 1986 (see below for history). A historic 1980s Keith Haring collectible that makes for a nice addition to any 1980s Keith Haring collection. A rare, unused example in very nice condition. Silkscreened shorts. Size: adult extra small; approximately 14x21.5 inches. Very good overall vintage condition; appears unused for the most part; minor staining in a few areas (visible from upfront only). Difficult to find as such. Unsigned from an edition of unknown. Further Background: Keith Haring held a birthday party each year from 1984 to 1986 called ‘Party of Life’. Filmmaker Courtney Harmel captured the inaugural event, which was held on 16 May at the Paradise Garage nightclub on King Street, New York. The party was co-hosted by Larry Levan, resident DJ at the club from 1976 to 1987. Levan developed a cult following and is credited with introducing dub into dance music. The party featured performances by Madonna and performance artist John Sex. Madonna, wearing a pink suit covered in an elaborate web of black lines painted by Haring and LA II, sang ‘Dress You Up’ and ‘Like a Virgin’, which she released later that year. Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. Haring moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia.The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C. Related Categories: Keith Haring. Keith Haring invitation...

Gudmundur Gudmundsson, aka Erró (Icelandic, b. 1932) Ice Cream for Mao, 2004 Medium: Lithograph on wove paper Medium: 77.5 × 59 cm Edition of 120: Hand signed and numbered Condition:...

With the Celebration series, Koons offers a reimagined iconography of the gemstone found in nature, which takes billions of years to form, in a brand new colour. The Diamond becomes ...

Robert Indiana Colby ART (Sheehan, 80), 1973 Silkscreen in Colors on White Wove Paper Pencil signed and numbered 69/100 on the front with artist's copyright @Robert Indiana lower right front Published by Robert Indiana with copyright; Printed by Seri-Arts, Inc. Vintage metal frame included Classic early 1970s work. There was a time, we are told, when every prestigious collector in Germany would have an edition of Robert Indiana's iconic ART print prominently hanging in their home. This is an uncommon and desirable Robert Indiana piece from the early 1970s. Boldly signed in graphite on the recto (front), numbered and bearing the artist's copyright: @ Robert Indiana 1973...

Aurélie developed very early, along with her father Roger Anger, a visionary architect, a special sensitivity for the Arts. Her work reflects a world, a society in its multiplicity ...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Rare Vintage 1980s Keith Haring Record Cover Art: (Set of 4: 1983-1987): Four individual 7 inch albums - all illustrated by Haring during his lifetime - making for standout 1980s Ke...

Saul Steinberg (untitled) Chrysler Building Lithograph from Derrière le miroir: Lithograph in colors c.1970. 11 x 15 inches Very good overall vintage condition. Unsigned from an ed...

Peter SAUL Barcelona Olympic Games : the Athletes, 1992 Original Lithograph Handsigned in pencil Numbered /250 On vellum 63 x 90 cm (c. 25 x 36 in)...

Erró (born 1932 in Iceland) Hommage à Picasso, 2005 Medium: Lithograph on paper Dimensions: 46 x 61 cm Edition of 120: Hand-signed and numbered Condition: Excellent