Cey Adams Art

Tea for two – Tod by Harry Bunce [2017] limited_edition Screen Print Edition number 146 Image size: H:25 cm x W:31 cm Complete Size of Unframed Work: H:41 cm x W:49 cm x D:0.3cm Sol...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Stamped and dated with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket simultaneously reflects Warhol's central preoccupations with commercial culture (the ticket is, par excellence, an object that is bought and sold), as well as his fascination with Hollywood - as the ticket, quite literally, represents an entree into the world of film. Warhol's appropriation of the flower - an otherwise sentimental and decorative motif, transforming it into a symbol of the Pop Art movement, is a hallmark of his early style and innovations. Andy Warhol's vibrant vintage color silkscreen Lincoln Center Ticket from the fabulous Sixties is considered one of the more iconic and recognizable Warhol images. It is also one of Warhol's earliest prints. The Vera List...

Orange mono color from the studio of this very well collected British artist. Image 21" x 15" Originally from Bury, in the North of England, John Emanuel works in Porthmeor, Cornwa...

Audrey Flack Une Bouchee D'Amour, 2013 Mixed media: Digitized drawing with silkscreen Signed, titled and numbered recto (front) in graphite pencil Annotated presentation proof Frame included: in elegant vintage wood frame Print Club of New York, Publisher; Printer: Experimental Printmaking Institute, Lafayette College, Easton, PA Digitized drawing with silkscreen Flack's "Une Bouchee d'Amour" was the 2013 presentation print commissioned by The Print Club of New York, and it is accompanied by a COA issued by the Print Club of NY as well as Alpha 137...

David Shrigley, (British, b. 1968) The World (2020) Medium: Screenprint in colors with a varnish overlay Dimensions: 75 x 56 cm Edition of 125: Hand-signed and numbered Condition: Mint

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...

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 authenticity unlike any other: layered, textural, controversial, open to imagination, colorful, personal, and inspiring. Coruzzi’s work encapsulates not only urban environments, but the inhabitants as well. Irony is laced between figures drawn with an energetic architectural hand. His work is colorful, funny, and biting through resolutely rendered vignettes of people and places. Coruzzi used spray paint and credit cards to create this one-of-a-kind original artwork on panel. This colorful 9-inch high by 11-inch wide artwork is framed in a white wood frame. Size and price include frame. This artwork is signed on the back. Convenient local Los Angeles shipping. Affordable Continental U.S. and worldwide shipping also available. A certificate of authenticity issued by the art gallery is included. Fabio Coruzzi was born in Foggia, Italy in 1975, and now resides in Southern California, USA. Remarking on his work in conjunction with his perspective on urban environments, Fabio states: "I wish that each painting I make should be like a poem of the place where I've been. I wish to become a poet of our time, like somebody would tell: "I've been there", but telling that my way, telling the audience that, no matter where we are, in a boulevard or in a restaurant, each single place is like an empty box...

Man Ray Alphabet Pour Adultes (Alphabet For Adults), 1970 Silkscreen in colors and lithograph on paper mounted on wood veneer mounted on card stock. Hand Signed. Numbered. Dated. Ha...

Donald Sultan Yellow Roses, 1992 Screenprint in colors on wove paper Pencil signed, titled, dated and numbered by Donald Sultan on the front Frame Included This work is floated and f...

Jimi Hendrix - From the suite of 3 silkscreens, blue, red + silver - hand pulled by the artist Paper size: 28 x 28" Image size: 24 x 24" Number of colors: 3 Paper: Coventry 320gm wt. Edition number + studio (Modern Multiples) chop: Lower left Artist's signature + chop: Lower right The Edition: (Blue, Silver + Red): 120 total; 40 each color Artist Proofs: 9 (3 each) Printer Proofs: 9 (3 each) Publisher proofs: 9 (3 of each) NOTE: full suite is available at discount John Van Hamersveld (born September 1, 1941) is an American graphic artist and illustrator who designed record jackets for pop and psychedelic bands from the 1960s onward. Among the 300 albums[3] are the covers of Magical Mystery Tour by the Beatles, Crown of Creation by Jefferson Airplane, Exile on Main Street by the Rolling Stones, and Hotter Than Hell by Kiss. His first major assignment, in 1963, was designing the poster for the surf film The Endless Summer, after which he served as Capitol Records' head of design from 1965 to 1968. During that time, he worked on the artwork for albums by Capitol artists such as the Beatles and the Beach Boys.[5] He also oversaw the design of the psychedelic posters for the Pinnacle Shrine exposition.[6] The Endless Summer The Endless Summer (John Van Hamersveld illustration) In 1963, Van Hamersveld was hired by director and filmmaker Bruce Brown to design the iconic Endless Summer movie poster using a photograph taken by Bob Bagley, general manager and camera man for Bruce Brown Films. In the staged photograph originally taken at Salt Creek, Brown is positioned in the foreground with his surfboard on his head and the movie's two stars, Robert August...

Original painting on canvas. Hand signed, titled and dated on verso by the artist. Custom framed as pictured. Artwork is in excellent condition. Certificate of authenticity include...