Best known for his photorealistic drawings, Longo explores imagery within a complex social and cultural forces. Robert Longo was born in 1953, in Brooklyn, New York, and has had a childhood fascination with mass media: movies, television, magazines, and comic books, which continue to deeply influence his art. One of the quintessential artists of the 1980s, Longo is perhaps best known for the writhing, dancing figures in his iconic Men in the Cities series.

The American artist´s drawings are, perhaps, his most iconic. They are as much about the content they depict as they are about the artist´s intense devotion to the practice of drawing. His amazingly deep, anthracite charcoal drawings show emotional motives. Perhaps the best known photorealist series of Robert Longo´s is Men in the Cities, depicting contorted, life-size human figures in an urban setting. Robert Longo´s art focuses on his never-ending investigation of the themes of power and authority, which also permeate his series of blackened American flags (Black Flags, 1989–91), and oversized handguns (Bodyhammers, 1993–95). Longo´s series, Monsters, which depict massive breaking waves, and The Sickness of Reason, featuring atomic bomb blasts, followed in 2002 and 2004. It was during the 1980s that Robert Longo started to produce editions, mainly lithographs. He then gradually developed a high-end print technique, Pigment Print, which allows him to reproduce his drawings perfectly. Robert Longo´s prints capture the same level of detail and emotional impact of the original drawings.

Robert Longo

Robert Longo is known for large-scale, hyperrealistic charcoal portraits that consider power, authority, and social unrest.

The massive, photorealistic charcoal drawings by American artist Robert Longo (b. 1953 in New York) show the beauty and horror of the present day and age. His signature large-format works feature the tranquil grandiosity of Earth and the planets, roses in bloom, enchanted forests or Gothic cathedrals with threatening images of atom bomb explosions, fighter pilots, monster waves, sharks and tigers.

The present Portfolio is made up of four works, encompassing the most renown subjects of Longo`s production, presented in a highly collectable and domestic format.They are made exclusively from graphite and charcoal, which the artist uses with extraordinary flair and panache. The work evidences the artist's ongoing concern with the iconography of power, and his unwavering exploration of images that inspire anxiety, fear and awe.

Portfolio of 4 (Russian Bomb, Lion`s Gate, Shark 5, Ulysses)

ARTXX

4 Digital Pigment Prints on watercolor paper

Jeff Koons (born 1955) playfully tests the boundaries of commerce, celebrity, banality, and pleasure. He rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era. Koons turns banal commercial or everyday objects into art icons by using seductive materials, a shift of scale, and a contextual displacement. Jeff Koons’s “Balloon Dog” (featuring his enormous iconic chromium stainless steel dogs); his large-scale vinyl “Inflatables”; or the giant “Split-Rocker” all follow this principle. For instance, Jeff Koons in “Puppy” engaged the past and the present, referencing the eighteenth-century formal garden, while adding the most sugary of iconography. Originally licensed as a commodities broker, Koons decided to become an artist in the late 1970s and moved from Wall Street into a factory-like studio in SoHo with hundreds of assistants. Since then, he has produced different iconic series, like the “Pre-New”, a series of domestic objects in strange new configurations, and “The Equilibrium” series, consisting of basketballs floating in distilled water tanks. The “Banality” series, which includes Jeff Koons´s “Michael Jackson and Bubbles” and “Woman in Tub”, among others, is characterized by oddly eroticized, comic, and kitsch images. However, it is indeed Koons’s “Made in Heaven” series that is his most provocative and controversial work, in which he examines the place of sexuality in visual culture. Koons is widely regarded as one of the most important, influential, and controversial contemporary artists. He constantly tests the boundaries between art and commerce, high culture and mass culture, ready-made and art objects, by decontextualizing his objects and lifting them to iconic status. Jeff Koons´s art is the result of his intention to bring it out of the enclave of the genius-driven artist into the realms of contemporary pop and commerce-driven culture.

Jeff Koons

One of the most famous artists working today, Jeff Koons makes gleeful, tongue-in-cheek sculptures, paintings, and installations that border—and often cross—the edge of good taste.

We are thrilled to offer you an exclusive, limited edition, the Collector´s Set of the Balloon Animals. Incorporating the vocabulary of Jeff Koons´s iconic Celebration series; the Balloon Rabbit, Balloon Monkey, and Balloon Swan, that marked a spectacular new chapter in the artist´s oeuvre.

The limited-edition, now in a matching edition number - only 40 editions created, touches on various important subjects of the history of art; such as the biblical creation, our anti-aging obsession, the memento mori, cheating death, as well as through its materiality; porcelain with chromatic coating. Koons democratizes porcelain, a material once used exclusively for kings, to the masses, and the reflection of the Balloon Animals adds elements of the Greek myth of Narcissus - "if you don´t move, nothing happens", as Koons has said.

The six artwork figures presented as a set have been very successful and performed very well in the auction market. Last June, in 2019, it was first offered at the Dorotheum as a matching edition number set and it sold for $85,000. In 3 months another matching Collector´s Set was offered at Phillips, in New York, and the price it fetched was over $93,000 - a price increase of 10%. This year, in January 2020, another matching set was offered, at Phillips in London, and it sold for $100,000 – an almost 20% price increase in 6 months. It is interesting to notice that despite the geographic location; Vienna, New York, and London, these Jeff Koons Balloon Animals, in matching edition number, are very desirable and they have shown price appreciation in a very short amount of time.

Balloon Animals (Collector´s Set)

French Limoges porcelain with chromatic coating

The Chinese artist is one of the most celebrated contemporary artists in the East and West, a global citizen who calls for political investigation within his wide practice. Ai Weiwei investigates and questions institutions and regimes at the core of his work, he measures our existence in relation to economic, political, and social forces, while his practice is rooted in Chinese tradition he executes within a contemporary and conceptual creativity.

His provocative blend of Chinese tradition and craftsmanship within fully contemporary practice serves his strong criticism of human rights violations and condemnations of governmental corruption. His own life since childhood has been marked by his struggles and fights against the Chinese Government. His father, a renewed poet, was declared “class enemy” and sent to labor camp with his family. Migrating to New York was his opportunity to expand his artistic vocabularies where he stayed for over a decade. During this time, he became influenced by the works of Marcel Duchamp, Andy Warhol, and Hasper Johns.
He was secretly detained without any official charges being filed for 81 days from April 3 to June 22, 2011 by the Chinese government, and his passport was held for 4 years afterward. Since being allowed to leave China in 2015 he has produced monumental installations and artworks that advocate for refugee rights and make awareness on the global crisis of displacement.

Ai Weiwei

Dissident artist Ai Weiwei is famous for conceptual artworks that challenge authority and explore the links between the contemporary world and traditional Chinese culture.

Ai Weiwei’s middle finger has been a recurrent theme in the artist production. His photographic series, Study of Perspective (from 1995 onwards), encourages questioning towards governments, institutions and establishments. Ai’s middle finger in flipping of the bird gesture in front of symbols of power across the globe, from the Tiananmen Square to the White House, makes explicit the artist’s rejection of any form of oppression against human freedom. With a raise of his middle finger, Weiwei champions the social responsibility and the importance of standing for our own values and not those created by others.

This precious edition of 100 Study of Perspective in Glass (2019) in six different colours nods to the series Study of Perspective, pointing out to the artist’s deepest beliefs regarding freedom of speech and democratic values. The translation in Murano glass of the iconic Ai Weiwei’s middle finger in six different colours, is powerful and yet elegant. The sculptures, made out from the artist´s own hand cast, embody the deep and engaged message of Study of Perspective series in an edition of precious material and superlative craftsmanship: the innate light and airy qualities of the glass melt with the sturdiness of the design producing a rare effect of beauty and mystic power. This hand in Alexandrite colour has the characteristic of changing colour with different lights, passing from light violet to light blue.

Study of Perspective in Glass (Alexandrite)

Murano Glass Casting

As a seminal artist and curator who rose to prominence during the British Black Arts Movement in the 1980s, Himid made it her mission to foreground the neglected histories of Black people. The Zanzibar-born artist—who creates paintings, drawings, prints, and installations—studied theater design before pursuing her MA in cultural history at the Royal College of Art in London. Her multidisciplinary background has informed some of her most memorable works, including the immersive, monumental Naming the Money (2004). The installation features 100 life-size cut-out figures representing slaves and servants. Himid created thoughtful backstories for each, which are read out on a soundtrack that loops throughout the exhibition. Over her decades-long career, Himid has exhibited across the U.K. and beyond, with shows in Berlin, Havana, New York, Los Angeles, and Gwangju. Institutions including Tate Britain, the Victoria and Albert Museum, and New Hall College in Cambridge, England, have all collected her work.

Lubaina Himid

Lubaina Himid made history in 2017, at age 63, when she became the first Black woman and the oldest artist yet to win the prestigious Turner Prize.

Lubaina Himid, along with seven other leading international artists, were asked to create a print to celebrate Tate Modern’s 21st anniversary. A third of the profits from the sale of each print will benefit Tate.
For almost four decades, British artist Lubaina Himid has created artworks that celebrates black creativity. Her drawings, paintings, sculptures and installations analyse cultural history, the reclaiming of identities and the legacy of the slave trade, as well as racism, gender issues and the lack of representation within institutions.

Himid's print for Tate 21 'Naming the Money: Kwesi’ is derived from one of the characters which inhabit Himid’s largest installation to date, 'Naming the Money’ (2004). Consisting of 100 life-sized cut-outs, each figure represents an African slave from the royal courts of eighteenth-century Europe, depictions the artist had previously encountered in European court paintings of the 17th and 18th centuries. Countering the typical anonymity of their original pictorial representation, Himid’s installation gives each figure a name and a backstory, and thus a concrete, distinct identity. They are full of life, with their personality, individuality, skills and passions shining through.

Naming the Money: Kwesi, 2004/2021

21 Colour Screenprint on Somerset Enhanced Radiant White Satin 330gsm

Playing with ideas of color, scale, and form, he later gained renown for gridded paintings that appear abstract from up close and highly realistic and pixelated from afar. Close has exhibited extensively since the ’60s and enjoyed solo shows at the Walker Art Center, the Metropolitan Museum of Art, the State Hermitage Museum, and the Museum of Contemporary Art Australia, among other institutions. He has featured in group exhibitions at the Venice Biennale and Documenta on multiple occasions. At auction, his work has sold for seven figures. Close has often depicted his family and friends, including fellow artists Robert Rauschenberg, Cindy Sherman, and Richard Serra. His work links him not only to other Photorealists such as Richard Estes and Audrey Flack, but also to the Conceptual art movement.

Chuck Close

In the 1960s, Chuck Close pioneered Photorealism with his monumental, exquisitely detailed portraits, whose subjects he took from photographic sources.

Chuck Close is widely known for his painterly process of using abstraction to a realistic end. Gridding both a source photograph and a canvas, Close paints brightly-colored concentric rings that up close look like simple color fields, but from afar turn out to be very detailed portraits.

In this intricately detailed picture, the artist displays his technical mastery of the camera, capturing the sunflower in a finely balanced play of light. This is a flower as seen by a bee, with its center deep, inviting and overwhelming. This presumably innocent subject, a sunflower, has a disheveled luxuriance and a thrill of sex, which make it very unlike the traditional imagery of still life subjects. In Close´s flowers pictures, the erotic energy is myopic as the imagery seems to have emerged from the sense of touch more than from vision.

Sunflower

Pigment Print

JR is a photographer and artist whose identity is unconfirmed. After he found a camera in the Paris subway, he did a tour of European Street Art, tracking the people who communicate messages via the walls. Then, he started to work on the vertical limits, watching the people and the passage of life from the forbidden undergrounds and roofs of Paris. He has described himself as a "photograffeur", as he flyposts large black-and-white photographic images in public locations in a manner that is similar to the appropriation of the built environment by the graffiti artist. The artist exhibits freely in the streets of the world, catching the attention of people who are not typical museum visitors. JR's work combines art and performance and its subject varies from commitment, freedom, identity and limitations. JR has exhibited his work at Centre Pompidou, Tate Modern, Watari-Um in Tokyo, Frieder Burda Museum in Baden-Baden, and Power Station of Art in Shanghai.

JR’s practice lies at the intersection of photography, street art, film, and social practice.

JR’s practice lies at the intersection of photography, street art, film, and social practice. The artist is best known for his site-specific public interventions, which usually feature large-scale, black-and-white photographs overlaid on building façades, stadium seats, and a variety of other architectural and landscape features. His practice often comments on such issues as incarceration, immigrant rights, and poverty—yet JR infuses his work with joy and hope for change. He has exhibited in cities including New York, London, Paris, Tokyo, Berlin, and Seoul.

Inside Out, Haiti

20 colors lithograph on white paper BFK Rives - 300 grams

Dean’s 35mm color and black-and-white film JG, with kaleidoscopic visuals, explores her search to find Robert Smithson’s Spiral Jetty in Utah, as well as her correspondence with the writer J.G. Ballard about the likeness that Smithson’s work bears to a Ballard short story. “Both works have an analog heart,” Dean has said, “not just because they were made or written when spooling and reeling were the means to record and transmit images and sound, but because their spiraling is analogous to time itself.” Her drawings have taken the form of storyboards and large-scale, dramatic chalk-on-blackboard drawings of landscapes. Dean won a Hugo Boss Prize in 2006.

Tacita Dean

Tacita Dean creates photographs, films, and drawings that explore themes of chance, narrative, and time, often featuring nautical imagery and derelict spaces.

Tacita Dean, along with seven other leading international artists, were asked to create a print to celebrate Tate Modern’s 21st anniversary.

Tacita Dean works in a large number of techniques in media ranging from painting to photography and film, frequently combining more than one of them. She addresses issues relating to the passage of time, exploring what we remember and how we remember it. Often her art revolves around decay and loss as triggers of memories.

For her Tate Modern 21 Years print Tacita Dean compounds the traditional ideas of landscape, and still life in a single collaged image. The background is from Tacita's extensive vintage postcard collected by the artist in her visits to European flea markets, while the black and white object is from her Father’s collection of flints. The foregrounding of the flint changes its scale, suggesting something more monumental than a simple flint, and having too the characteristics of a Henry Moore public sculpture.

An Organised Whole (Tate Modern 21 Years)

23 Colour Screenprint with pearlescent inks on Somerset Radiant White Satin 410gsm

The Turner prize winner and epicenter of the YBA movement. Hirst's emblematic art of our era revolutionizes the art market. Hirst is widely regarded as one of the most important artists working today, creating truly iconic artworks.

A genuine star of the Young British Artists (YBA) movement, Damien Hirst has always made a point of mixing up different media. Whether as a sculptor, an installation artist, a painter, or a printmaker, Hirst has produced many of the most spectacular and widely discussed works in recent years and helped to revolutionize the art market. Damien Hirst’s, For the Love of God, the diamond-encrusted replica of the skull of a thirty-five-year-old man from the thirteenth century, broke all records to become the most expensive contemporary artwork in the world. Damien Hirst´s artworks are truly emblematic icons of our era, with their recurring motives such as dots, butterflies, cows, sharks, skulls, pills, and pharmacy cabinets. His works, captivating and intense as they are, challenge our stereotyped concepts and beliefs. Damien Hirst’s shark, suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991), is widely recognized, as are his real butterflies suspended in paint or thousands of butterfly wings arranged in a mandala-like pattern – the famous Damien Hirst butterfly paintings. Since 1986 he has been producing the Spot paintings (sometimes called Dot Paintings), a series of paintings with evocative pharmacological titles, which display lines of colored spots. Damien Hirst´s Spot paintings and his Spin paintings became iconic series. Inspired by such diverse themes as life, death, art, science, and medicine, Damien Hirst’s art takes a direct and challenging approach to ideas about existence. The energy and inventiveness are also to be found in Damien Hirst's prints, which continue to stir controversy within the viewer with the same intensity.

Damien Hirst

Damien Hirst, a poster boy for the Young British Artists who rose to prominence in late 1980s London, is one of the most notorious artists of his generation.

The animal kingdom has always been a source of inspiration for Damien Hirst, and these 12 beautiful etchings of colored butterflies on black backgrounds, are another such example. In these prints the artist takes all signs of life from the butterflies and has them, instead, looking like pieces from a collection in a wunderkammer.

Hirst has said: "I love their repetition in my collection, it’s just the same question asked again and again and again in slightly different ways. It’s life’s ultimate question: why, where, what, how? They transcend time and space and location."

These prints establish a powerful visual tension between the frailty and exquisite colors of the butterflies, and the somewhat drab, industrial colors of the gloss backgrounds on which they are fastened. The effect is poetic: the sense of a tiny life arrested, and of a transient, short-lived beauty.

Butterfly (Portfolio of 12)

Etching

Yue Min-Jun (born 1962, Daqing, China) is one of the leading Chinese artists. He is best known for oil paintings depicting formations of his laughing self-portraits in various settings. His iconography is easily recognisable, it challenges social and cultural conventions by depicting objects and political issues in a radical, abstract, ironic and cynical manner.
Yue Min-Jun initially started painting as a hobby, subsequently he graduated from the Oil Painting Department of Hebei Normal University, China in 1985. In the 90s he joined an artist community in Yuan Ming Yuan, a village near Beijing where he began to form his style and iconography. The paintings, sculptures, and installations of Yue Minjun feature uniform laughing pink faces, which appear to be self-portraits. Through various symbols, metaphors, signs, or through depictions of daily life the artist constructs various realities against which the laughing figures are rendered. Yue became famous after his participation in the 48th Venice Biennale in 1999, which granted him access to international art. One of the best-known paintings by Yue Minjun and an icon for modern Chinese art and the Cynical Realism movement is Execution. It was painted in 1995 and is generally regarded as a reaction to the Tiananmen Square crackdown of 1989, as it shows several laughing men in front of an execution squad. The cloned all smiling Minjun self-portraits have become known in the art world as the "Silly Man". As the preparation for his paintings, the artist uses photographs of himself being photographed in various poses. This approach reflects the self-irony of the artist. Yue Minjun is often classified as part of the Chinese "Cynical Realist" movement, however, the artist does not support such attribution. Nevertheless, Yue often challenges social and cultural conventions by depicting objects and political issues in a radical, abstract, ironic and cynical manner.

Yue Minjun

In fantastical paintings populated with heightened, hysterical self-portraits, Yue Minjun satirizes contemporary society and art historical tropes.

In fantastical paintings populated with heightened, hysterical self-portraits, Yue Minjun satirizes contemporary society and art historical tropes. Yue paints himself in fluorescent hues with a gaping grin. He occasionally multiplies his likeness, making his compositions even more menacing; his style has made him a pioneer of China’s Cynical Realism movement. Yue’s influences include Chinese socialist realism, Surrealism, and European classical paintings. He studied oil painting at Hebei Normal University in Shijiazhuang and has exhibited in Hong Kong, Berlin, Shenzhen, Shanghai, London, Basel, and New York. Yue has been the subject of numerous institutional shows at venues such as the Macao Museum, the ARoS Aarhus Art Museum, the National Art Museum of China, the Kunstmuseum Bonn, and the Museum of Fine Arts in Bern.

Remarkable People

Lithography

Alex Katz (American, born 1927) is the outstanding protagonist of figurative painting and one of our era's most acclaimed artists. In the late 1950s, the artist began to develop his mature style, characterized by elegance, simplicity, and stylized abstraction, which typifies his entire production. Alex Katz’s paintings are the result of a transformation of the three-dimensional world into simplified landscapes and portraits. He chooses to minimize details and shading and to present bold contours and blocks of colour. Indeed, Alex Katz’s art captures the appearances and transposes them into paintings. Alex Katz’s portraits feature his own social milieu – friends, fellow artists, and most notably his wife Ada, whom he has painted more than 200 times. The artist’s quest to represent the experience of spectatorship is reflected in his portraits, also in his large landscapes, which he characterizes as “environmental”. In his continued experimentation with different media, the artist creates what he calls “cut-outs”, freestanding sculptures that blur the line between painting and object. Back in 1965, Katz began experimenting with printmaking, which became a key aspect of his artistic practice. Alex Katz’s prints, which vary from lithographs, etchings, and silkscreens to linoleum cuts, have been exhibited in major museums, such as the Albertina Museum in Vienna, which, in 2010, showed a retrospective survey of over 150 graphic works, and the Museum of Fine Arts, Boston, in an exhibition in 2012. The transposition of his notable paintings into prints allows Alex Katz to make his art more accessible to his collectors, thereby maintaining the same allure and stylish power as his painted works.

Alex Katz

With flat planes of rich, lovely color, Alex Katz’s landscapes and portraits evoke the smooth aesthetics of advertising billboards and film.

Being part of Alex Katz ‘Black Hat’ Series, this print features Vivien Bittencourt, a film director as well as the artist’s daughter-in-law. Together with her husband, Bittencourt filmed the artist painting in Alex Katz: Five Hours, documenting the production of his painting on January 3.

Vivien is shielded by a large black hat and sunglasses, her image is playfully aloof and mysterious. This thirty-four-colour screenprint shows Katz’s clean lines and minimal approach to portraiture. The solid monochrome background, a gleaming bright yellow – resembling the sun. Naturally, the sitter is wearing a hat and sunglasses! She is presented elusive but also glamorous, rendered in Katz’s characteristic flat and timelessly recognizable painterly style; the bold colours, simple but strong composition. Minimal and somehow Pop elements surface – even though Katz was never interested in neither movements.

Vivien in Black Hat

Silkscreen

Politeness is one of the eight works from the iconic Virtues prints, the latest edition by British artist Damien Hirst.  These eight limited editions are each titled after one of The Eight Virtues of Bushidō according to Nitobe Inazō -Justice, Courage, Mercy, Politeness, Honesty, Honour, Loyalty, and Control. A continuation of Hirst's "Cherry Blossom" works, which will be exhibited for the first time at the Fondation Cartier in Paris, in July 2021 until January 2022. Hirst devoted two years, in 2018 and 2019, to creating the 107 imposing paintings that comprise the Cherry Blossoms series. In his London studio, he combined thick brushstrokes and elements of gestural painting, referencing Impressionism, Pointillism, and Action Painting. Hirst has been fascinated by the subject
of cherry blossoms from an early age, as early as at the age of three - still remembering - watching his mother paint a cherry blossom tree in blossom. As a young adult Hirst was enchanted by a cherry blossom tree outside his bedroom window in Devon. The series of the Cherry Blossoms once again binds Hirst's oeuvre together; each blossom is made out of coloured dots echoing his Spot series, as well as the Veils paintings and even going all the way back to his Visual Candy series - early painterly representations created in
an abstracted matter.

Politeness (The Virtues, H9-4)

Diasec-mounted Giclée print on aluminium composite panel

Austrian feminist avant-garde artist, Renate Bertlmann´s multimedia practice explores the gender roles within societal conventions. Her provocative pieces challenge the way women are held back by societal conventions.

Active since the 1970s Bertlmann, who was born in Vienna in 1943, has worked in a variety of mixed media; including collages, drawings, photographs, photo-films, performances, and sculptural objects. The fil rouge of her work is the ambivalence of the feminine and masculine relationship, pursuing, often also with humor, an interrogation on gender relations.
In 1975, Bertlmann participated in the ground-breaking exhibition 'MAGNA. Feminismus: Kunst und Kreativität' [MAGNA. Feminism: Art and Creativity] curated by fellow feminist artist Valie Export. Another milestone followed in 1978 where she started to use her motto 'AMO ERGO SUM' [I love, therefore I am], which inspires the production of an eponymous titled letter-box filled with 77 letters containing secret messages from the artist to other people. In addition, she starts to organize her work into the three related themes of 'Pornography', 'Irony' and 'Utopia'. In 1994 she became a member of the Secession in Vienna.

In 2019, Bertlmann represented Austria´s Pavillion at the 58th Venice Biennale, as the first solo female artist. Her installation of 312 knife roses made out of Murano glass were installed in the backyard.

Renate Bertlmann

Renate Bertlmann has been challenging social constructs surrounding gender and sexuality in her photographs, collages, performances, and sculptures since the 1970s.

A continuation of her installation, 'Discordo Ergo Sum‘ ('I dissent, therefore I am‘); which consisted of 312 glass roses, Bertlmann represented the Austrian Pavilion, as the first female solo artist, at the 58th Venice Biennale in 2019, where she focuses on the dichotomy of the human existence. The focal point of Bertlmann´s practice lays within the playground of gender and social issues, as can be seen in Knife-rose, an edition of 50 hand-blown Murano glass roses. The flaming and voluptuous red rose may be inviting, but from its core a sharp knife penetrates its petals and is ready to defend itself, awaiting an attack.

Discordo Ergo Sum: Knife-Rose

Murano glass and metal, protected by acrylic case

One of the most renowned contemporary artists, Peter Doig, who was born in 1959, in Scotland, was the central figure in the revival of painting in the contemporary art scene during the '90s. At present his oneiric landscapes are highly sought after by world-leading collectors and museums.

After a childhood spent in Trinidad and Canada, Doig only returned to Great Britain at the age of twenty in order to study art. He was nominated for the Turner Prize in 1994, which cemented his public recognition. Themes of magical realism are recurrent through Peter Doig’s paintings, capturing timeless moments of perfect tranquillity. Doig´s dreamlike depictions are often scattered with ghostly human traces in a sensuous palette.

Many of Doig's artworks are depicting landscapes, layered formally and conceptually, somewhat abstract, with a number harking back to the snowy scenes of his childhood lived in Canada. While his works are frequently based on found images (photographs, newspaper clippings, movie scenes, record album covers), they are not painted in a photorealistic. Doig instead uses the photographs simply for reference.
The canoes have become an inspiring image throughout his work; their reflection in the water is a fantasy mirror to the unknown. This inventive style, sensuous palette, and suggestive imagery are also maintained in Peter Doig’s prints through the mastery use of different printmaking techniques. Peter Doig is one of a number of pioneering contemporary figurative artists, and recent major solo exhibitions have been staged at institutional venues, including Fondation Beyeler, Basel; National Galleries of Scotland, Edinburgh; Musée des Beaux-Arts de Montreal; Gallery Met at the Metropolitan Opera, New York; and Tate Britain, London. His auction record on the painting Rosedale, created in 1991 sold for over $28 million at Phillips New York in May 2017.

Art critic Jonathan Jones said about Doig: "Amid all the nonsense, impostors, rhetorical bullshit and sheer trash that pass for art in the 21st century, Doig is a jewel of genuine imagination, sincere work and humble creativity."

Peter Doig

Peter Doig’s serene, fantastical paintings feature kaleidoscope landscapes punctuated by enigmatic, partially obscured figures.

Peter Doig’s painterly “Magic Realism” is inspired by everyday sceneries from artist's surroundings, by art and movies like the horror film Friday the 13th. Doig’s works evoke a mysterious world of its own, which the viewer can access only to a certain point. The interaction with Doig’s works brings the feeling of timelessness, which at any time could be interrupted by unexpected events.

In a semi-abstract scenery of black-brown darkness painted with expressive and visible brushstrokes in front of sketchy palm trees there is a shining figure of a walking fisherman. The composition presents yet another eerie example of Doig’s work. It evokes a certain loneliness, paired with despair. Doig's fisherman is a wanderer between the worlds, transcending mysterious existence in a magical-realist world.

Fisherman

Donald Sultan (USA, born 1951) is a distinguished painter, sculptor, and printmaker, who rose to prominence in the late 1970s as part of the New Yorker “New Image” movement. He has a unique artistic method and innovative approach to traditional subject matter. Known as Abstract Representation, Donald Sultan´s art is characterized by the use of geometric black forms set against organic areas of bright color, thus bringing an abstract sensibility to his iconographic images of still life. Throughout his career he has revisited and reinvented still life, using images of lemons, poppies, playing cards, fruits, flowers, and other objects. Donald Sultan’s Lemons, a recurrent theme in his artworks, has, in fact, become an iconic image all over the world. Sultan is considered to be at the forefront of contemporary art. Although his paintings are often classified as landscapes and still life, Sultan states that they are first and foremost abstracts. Besides paintings, drawings, and sculptures, he has created many editions. Donald Sultan’s prints are unique: he uses specific materials like “flocking’s” to create expressive and powerful prints that are reminiscent of his forceful paintings. Since his first solo exhibition in 1977, Sultan’s artistic career has progressed rapidly; his works are part of the most prominent public and private collections to be found across the globe.

Donald Sultan

Donald Sultan’s large-scale still-life paintings feature semi-abstract compositions and unique materials: The artist has used tar, spackle, enamel, Masonite, and vinyl floor tiles to create his minimalist renderings of flowers, fruits, and other natural forms.

Yellow Lantern Flowers, Sept.18, 2013 belongs to Sultan’s famous sculptural Flower series. The artist is credited for the revival of the still life tradition where the image is deconstructed to the basic elements, and thus Sultan’s work remain both abstract and representational.

Just like in his paintings, Sultan masterfully applies industrial materials to his sculptures. Yellow Lantern Flowers, Sept.18, 2013 are made from painted aluminum on polished aluminum base. The ephemeral shape of the flower is gracefully combined with the weighty aluminum manifesting the synthesis of the natural and the industrial typical to Sultan´s work. The sculpture is incised with title, date, and artist initials, it is as well stamped with edition number, publisher and artist copyright stamp on the base verso.

Yellow Lantern Flowers, Sept.18, 2013

Aluminum Sculpture

Both festive and enticing, this new and vibrant spot variation represents Hirst's signature Spot series. The delightful contrast between the twenty-four different pure colors of the spots and the striking bronze glitters offers a spectacular and refreshing visual impact and also celebrates Damien Hirst’s thirst for experimenting with the latest techniques of print making.

The texture of this metallic Spot print is juxtaposed with the opaque, pure colors of the print. It is in these series, according to Hirst, he discovered one of the most fundamental things in art - the harmony of where colour can exist on its own, interacting with other colors in a perfect format.

Proctolin (with Bronze Glitter)

Silkscreen with Bronze Glitters

Candida Höfer has been photographing both public and semi-public spaces in a style defined by an anachronistic approach since 1989.

Candida Höfer (1944, Eberswalde, Germany) has been photographing both public and semi-public spaces in a style defined by an anachronistic approach since 1989. After studying at the Kölner Werkschule between 1964 and 1968, Candida Höfer attended the Kunstakademie in Düsseldorf (Germany), initially reading film with Ole John (1973-1976) and then photography with Bernd Becher (1976 -1982). Following in the tradition of the Düsseldorf School of photography, Candida Höfer has often captured images of waiting rooms, spa resorts, banks, churches, libraries, theaters, and museums. These transitional spaces are also places where universal culture is accumulated, organized, and conserved to an encyclopedic degree, and are photographed by the artist with a rigor and simplicity approaching minimalism. Immediately recognizable, Candida Höfer’s photographs crystallize the peculiar inherent in places where often an illustrious history clashes with their present-day use. As in Spiegelkantine at Hamburg’s Museum für Kunst und Gewerbe, the lighting for these neutral shots comes solely from the natural light of the location. Spaces normally packed with visitors are shown devoid of human presence: all that remains are the outlines of these architectural products of culture or industry.

Candida Höfer

In majestic large-format color photography, Candida Höfer captures the psychological residue left behind in empty public and institutional spaces.

Deutsch Oper am Rhein Düsseldorf is part of a project called "In Portugal", which the artist realized between 2005 and 2006. The series consist of a selection of photographs taken in public sites throughout the Iberian country. Typical of Candida Höfer, the artist has photographed empty interiors of libraries, museums, palaces and theaters, focusing on the cultural spaces free from human presence.

The self-imposed subject restrictions evident in her project are both cultural and formal in nature. The Baroque, modern and contemporary interiors Höfer captures through her lens provide “formal portrait of the social itself,” as it has been defined in Europe since the Enlightenment.

Deutsche Oper am Rhein Düsseldorf 2012/2015

C-print

Both works are part of the American artist's "Celebration" series, which Koons started in 1994.

We are delighted to offer you a unique set of only 99 conceived matching edition numbers from Jeff Koons's limited art editions of the "Balloon Dog (Blue)" created in 2021 from the edition of 799 pieces and the festive "Diamond (Red)", created in 2020 from an edition number of 599. Both works are part of the American artist's "Celebration" series, which Koons started in 1994. The series evolved from Koons's desire to recreate the ecstatic experiences in one's life such as birthday parties and festive events, hence the "Balloon Dog (Blue)" that a clown would create at a memorable child's party and the "Diamond (Red)" symbolising an engagement ring.

These two limited art editions are labouriously created out of Limoges porcelain with chromatic coating, which gives them chameleon-like qualities; their reflective surfaces are capable of physically changing with its surroundings and its many-layered meanings make these works conceptually change in the mind of each viewer.

Each edition is signed and numbered and the works from this set share the same edition numbers, which makes them a rare and desirable collectible.

Set: Balloon Dog (Blue), 2021 and Diamond (Red), 2020

The American artist's fleshy petals and serrated leaves presented in

“White Roses” are part of the famous flower painting series by Alex Katz. The aesthetics of flowers such as flags, tulips and roses has been continuously explored by the artist throughout his career.

This compositon is an exploration of the volumes and colors created by natural light, "White Roses" breathe nature, the radiant white delights the vision against the limitless blue background. Katz’s flower themes are inspired by everyday motifs and are among most favorite subjects of the artist within the theme of nature.

White Roses

Our LATEST collaboration in Greece with editions by JEFF KOONS at the bespoke boutiques of Luisa World in Athens.

A site-specific artwork at the Palazzo Strozzi, titled "La Ferita", the Wound.

The street artist and photographer JR started out his artist practice in the streets of Paris. Using the pseudonym JR, the artist is keeping his identity hidden from the public.

La Ferita (The Wound) imagines the Palazzo Strozzi with a deep gash revealing the interior of the Renaissance building with some of Florence’s most iconic artworks occupying the space. Measuring 28 metres tall and 33 metres wide, the monumental photographic collage installation covers the primary façade of the Palazzo Strozzi and works like an anamorphosis, an illusion in which, observed from a specific viewpoint, various areas of the Palazzo Strozzi – the colonnade in the courtyard, an imaginary exhibition hall and a library – open up as a wound.
By including iconic works of Florence’s art heritage and directly citing real places such as the library of the Istituto Nazionale di Studi sul Rinascimento, JR proposes a direct and evocative reflection on accessibility not only to Palazzo Strozzi but to all cultural sites in the era of Covid-19.

Palazzo Strozzi becomes the spectacular stage for a symbolic yet painful wound suffered by all cultural institutions both in Italy and abroad: museums, libraries, cinemas and theatres forced either to restrict audience access or to shut down altogether. Looking « inside » Palazzo Strozzi also has the makings of an act of voyeurism designed to reveal that which cannot be seen: the depiction of a reality that goes beyond what one can customarily behold.

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Specialized in 20 & 21 century art

Chuck Close

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Specialized in
20 & 21 century art