San Francisco - Prints and Multiples
to
18
50,306
42,226
486
281
914
780
99
240
345
533
362
327
Overall Height
to
Overall Width
to
335
244
228
143
117
56
55
15
13
12
8
4
1
687
376
188
171
156
149
128
128
124
121
103
72
70
63
63
57
55
48
46
45
28
47
1,300
429
2
2
2
7
10
4
24
84
51
34
11
199
56
52
42
40
590
412
404
312
306
Item Ships From: San Francisco
Zia, State II
By Rudolph Carl Gorman
Located in San Francisco, CA
This artwork titled "Zia" State II, 1979 Is an original colors lithograph on Buff Arches paper by renown Navajo artist Rudolph Carl Gorman, 1932-2005. It is signed, dated and number...
Category
Late 20th Century Realist San Francisco - Prints and Multiples
Materials
Lithograph
"Centre Noeuds" planche #1
By Roberto Matta
Located in San Francisco, CA
This artwork titled "Centre Noeuds" plate #1, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is...
Category
Mid-20th Century Surrealist San Francisco - Prints and Multiples
Materials
Aquatint
Tree Study II - large scale photograph of dramatic mountain landscape
By Frank Schott
Located in San Francisco, CA
Tree Study II by Frank Schott
from a series of black and white photographs capturing the Golden State's vast mountain landscapes
26 x 40 inches / 66cm x 102cm
signed edition of ...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Photographic Paper, Archival Paper, Giclée, Archival Pigment
Mare (Mascagni) - large scale photograph of abstract Italian sky in Mascagni
By Frank Schott
Located in San Francisco, CA
Mare (Mascagni) by Frank Schott
60 x 48 inches / 152cm x 122cm
signed edition of 7
40 x 32 inches / 102cm x 81cm
signed edition of 25
archival quality fine art pigment print
limit...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Photographic Paper, Giclée, Archival Pigment, Archival Ink, Archival Paper
"Centre Noeuds" planche #7
By Roberto Matta
Located in San Francisco, CA
This artwork titled "Centre Noeuds" plate #7, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is...
Category
Mid-20th Century Surrealist San Francisco - Prints and Multiples
Materials
Aquatint
"Centre Noeuds" planche #2
By Roberto Matta
Located in San Francisco, CA
This artwork titled "Centre Noeuds" plate #2, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It is...
Category
Mid-20th Century Surrealist San Francisco - Prints and Multiples
Materials
Aquatint
Bali Princess (variant blue)
Located in San Francisco, CA
This artwork titled "Bali Princess" variant blue, 1996, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by noted Chinese artist Ting Shao Kuang...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
"Centre Noeuds" planche #10
By Roberto Matta
Located in San Francisco, CA
This artwork titled "Centre Noeuds" plate #10, 1974, is an original color etching with aquatint on Japan nacre paper by renown Chilean artist Roberto Sebastian Matta, 1911-2002. It i...
Category
Mid-20th Century Surrealist San Francisco - Prints and Multiples
Materials
Aquatint
Sunrise
By Kaiko Moti
Located in San Francisco, CA
This artwork titled "Sunrise" 1978, is an original color aquatint on rice paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered LXXIV/LXXV in red pencil...
Category
Mid-20th Century Impressionist San Francisco - Prints and Multiples
Materials
Aquatint
Moonlight
Located in San Francisco, CA
This artwork titled "Moonlight" 1994, is an original color serigraph on wove paper by noted Chinese artist Ting Shao Kuang, b.1939. It is unsigned as issue....
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Religion and Peace
Located in San Francisco, CA
This artwork titled "Religion and Peace" 1995, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by noted Ch...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Ancient Civilization
Located in San Francisco, CA
This artwork titled "Ancient Civilization" 1996, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by noted ...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Bali Princess (variant green)
Located in San Francisco, CA
This artwork titled "Bali Princess" variant green, 1996, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by noted Chinese artist Ting Shao Kuang...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Cityscape with Bridge
Located in San Francisco, CA
This artwork "Cityscape with Bridge" c.1940 is a color etching on wove paper by Austrian/American artist Tana Kasimir Hoernes, 1887-1972. It is hand signed in pencil by the estate o...
Category
Mid-20th Century Realist San Francisco - Prints and Multiples
Materials
Etching
Son Abrines
By Joan Miró
Located in San Francisco, CA
"Son Abrines" Original etching with aquatint printed on Guarro paper. Ink stamp signed, numbered 23/75 in pencil. Also hand signed in pencil on the back by the grand son of the artis...
Category
1980s Abstract San Francisco - Prints and Multiples
Materials
Aquatint
Ramayana
Located in San Francisco, CA
This artwork titled "Ramayana" 1995, is an original color serigraph on wove paper by noted Chinese artist Ting Shao Kuang, b.1939. It is unsigned as issue. ...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Helping with the Dress
By Malcolm Liepke
Located in San Francisco, CA
This artwork titled 'Helping with the Dress" 1996, is an original color lithograph on paper by noted American realist artist Malcolm Liepke, b.1953. It is hand signed and numbered A...
Category
Late 20th Century American Realist San Francisco - Prints and Multiples
Materials
Lithograph
Bali Princess (variant red)
Located in San Francisco, CA
This artwork titled "Bali Princess" variant red, 1996, is an original color serigraph on thin rice paper taped to a sheet of wove paper for stabilization by ...
Category
Late 20th Century Modern San Francisco - Prints and Multiples
Materials
Screen
Big Board Stock Exchange
By Charles Bragg
Located in San Francisco, CA
This artwork "Big Board Stock Exchange" c.1980 is an original etching by noted American artist Charles Bragg, 1931-2017. It is hand signed, titled and numbered 230/300 in pencil by t...
Category
Late 20th Century Other Art Style San Francisco - Prints and Multiples
Materials
Etching
Persimmons
Located in San Francisco, CA
This artwork titled "Persimmons" 1980, is a colors woodcut on wove paper by noted Korean artist Bong Kyu Ahn, b.1938. It is hand signed, dated, titled, and numbered 10/90 in pencil b...
Category
Late 20th Century Realist San Francisco - Prints and Multiples
Materials
Woodcut
Gertrude S.
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Gertrude S."
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Lillian Russell
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Lillian Russell"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: ...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Two Horses
By Kaiko Moti
Located in San Francisco, CA
This artwork "Two Horses" 1964, is an original color aquatint on paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered 107/120 in pencil by the artist. ...
Category
Mid-20th Century Impressionist San Francisco - Prints and Multiples
Materials
Aquatint
Tree Study I - large format b/w photograph of lone ancient tree in landscape
By Frank Schott
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment
Anne
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Anne"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp in 1973, which became very popular. Since then there have been a number of other American stamps with the word love on them, but Indiana's was the first. In addition to the stamp, the image was reproduced countless times during the 70s, as poster, candles, t-shirts and many other items.
Indiana continues to work as an artist and recently (2000) released a print with the image 2000 on it arranged in a pattern similar to that of the LOVE design.
The work of Robert Indians...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Indiana Elliot
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Indiana Eliott"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Jo the Loiterer
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Jo the Loiterer"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Angel More
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: Angel More
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x ...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Constance Fletcher
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Constance Fletcher"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Susan B.
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "ISusan B."
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Tree Study V - large format b/w photograph of lone ancient tree in landscape
By Frank Schott
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment, Archival Ink
Jenny Reefer
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Jenny Reefer"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Anthony Comstock
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Anthony Comstock"
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
General U.S. Grant
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: General U.S. Grant
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Petit Luberon II (Little Luberon II)
By Marcel Mouly
Located in San Francisco, CA
Artist: Marcel Mouly – French (1918 - 2008)
Title: Petit Luberon II (Little Luberon II)
Year: 2003
Medium: Lithograph
Image Size: 27.5 x 19.25 inches
Sheet Size: 30.5 x 22.25 inches
...
Category
Early 2000s Impressionist San Francisco - Prints and Multiples
Materials
Paper, Lithograph
Tree Study IV - large format b/w photograph of lone ancient tree in landscape
By Frank Schott
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment, Archival Ink
Henrietta M.
By Robert Indiana
Located in San Francisco, CA
Artist: Robert Indiana (American, born 1928)
Title: "Henrietta M."
Year: 1977
Medium: Original color lithograph
Edition: Numbered 32/150 in pencil
Paper: Arches
Image size: 18 x 14 inches
paper size: 23.65 x 19.5 inches
Signature: Hand signed in pencil by the artist
Publisher: Leon Amiel, New York
Printer: Fernand Mourlot, Paris
Condition: It is in excellent condition, has never been framed.
Description: From the suite "The Mother of All Us"
About the artist:
Robert Indiana was born in New Castle, Indiana, in 1928. His family name was Clark but he adopted the name of his native state early in his career. His father worked for a Phillips 66 gas station and his mother ran a diner. He began his studies in art in 1945 at the Herron School of Art in Indianapolis and then at the Munson-Williams-Proctor Institute in Utica, New York. He then moved to Chicago and continued his studies at the School of the Art Institute of Chicago. He also studied at the Skowhgan School of Painting and Sculpture in Maine, the Edinburgh College of Art and London University, eventually moving to New York City in 1956.
A major Pop Artist, his work is characterized by the use of words and relatively flat paint with no brush strokes. This cold and somewhat mechanical approach to painting in which the words are often stenciled into the design probably was influenced by street signs, pinball machines, the commercial stenciling process used in printing and advertisements. In fact, Indiana calls himself "a painter of signs". He uses the common everyday symbols and words of America and paints them as brilliantly colored pop art paintings. His work comments in an ironic fashion on American life and culture, often making pointed political statements about American society.
The words in his painting are usually simple and short words, sometimes with clear meaning and other times arranged in an ambiguous fashion to project multiple meanings, and occasionally involve puns. It is interesting to try to put his "words" together to get a sense of the meaning. For instance, in The Triumph of Tira, painted in, 1960-61, the artist presents four circles with four squares inside them and four stars inside the squares. There is one word in each star. The upper left says "Law"; the upper right says "Cat"; the lower left says "Men"; and the lower right says "Sex." Of course it is hard to understand the relationship between the words, and as you begin to speculate on what it might mean, a number of possible interpretations evolve.
Other works have more obvious meanings, sometimes political. One painting shows an outline of the State of Alabama with Selma marked in the right location. The words "Just as in the anatomy of man, every nation must have its hind part", are stenciled around the map. This is a reference to the march on Selma, which was an important event in the Civil Rights Movement during the 60's.
Indiana's most famous painting is of the word "Love". It is painted with the LO on the top and VE on the bottom. This painting was used as a design for an American postage stamp...
Category
1970s Pop Art San Francisco - Prints and Multiples
Materials
Lithograph
Tree Study II - large format b/w photograph of lone ancient tree in landscape
By Frank Schott
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment
Tree Study III - large format b/w photograph of lone ancient tree in landscape
By Frank Schott
Located in San Francisco, CA
From a series of large scale black & white photographs capturing the ancient flora and dramatic arboretum of California's vast Sierra Nevada mountain landscapes, an homage to photogr...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Photographic Paper, Archival Ink, Archival Paper, Giclée, Archival Pigment
"Courtisane aux Yeux Baisses" from the suite "Les Fleurs du Mal""
By Georges Rouault
Located in San Francisco, CA
This artwork titled "Courtisane aux Yeux Baisses" from the suite "Les Fleurs du Mal" created in 1937, is an original color aquatint on Montval paper by renown French artist Georges Rouault, 1871-1958. It is signed and dated in the plate as issue. Published by Ambroise Vollard, Paris and printed by Lacouriere, Paris. Referenced and pictured in the artist's catalogue raisonnes by Chapon plate #276, Wofsy plate #273. The plate mark (image) is 11.75 x 8.15 inches, framed size is 20.5 x 17.25 inches. Custom framed in a wooden brownish and gold frame, with fabric matting and black fillet. Artwork and frame are in excellent condition, the colors are fresh and bright. Example of this artwork is held in many museums including The National Gallery of Art.
About the artist:
French painter, draughtsman, printmaker and designer, Georges Rouault created a personal style of Expressionism that gives him a highly distinctive place in Modern Art. Rouault was born in 1871, in the cellar of a house in Belleville, a working class quarter of Paris near the Père Lachaise cemetery, while the city was being bombarded by government troops quelling the Paris Commune. His father was a finisher and varnisher of pianos at a local factory. Rouault's grandfather was an amateur art...
Category
Mid-20th Century Expressionist San Francisco - Prints and Multiples
Materials
Aquatint
"Curvy Brushstrokes" Large etching with aquatint, framed
By Sol LeWitt
Located in San Francisco, CA
This artwork titled "Curvy Brushstrokes" 1997 is a colors etching with sugar lift aquatint on Somerset textured white paper by renown artist Sol (Solomon) LeWitt, 1928-2007. It is hand signed and numbered 1/15 in pencil by the artist. The image size is 29.90 x 39.90 inches, paper sheet size is 40.5 x 49.80 inches, framed size is 43.75 x 53 inches. Published by Crown Point Press, San Francisco, printed by Dana Sywulak, assisted by Dena Schneleit, Mary Andrews and Case Hudson at Crown Press, San Francisco. Referenced and pictured in the artist's catalogue raisonne, plate #1997.07. Custom framed in a wooden black frame, floated on white backing, with white spacer. It is in excellent condition, the frame has minor very small restorations, practically invisible.
About the artist:
Known for his modular white cube sculpture, geometric drawings and abstract design paintings including many wall paintings that took teams of people to execute, Sol LeWitt was a major promoter of dominant post World War II Conceptualism and Minimalism. He used geometric shapes and lines to challenge his viewers, and sometimes they seemed logical and other times they seemed to have no basis in either reason or reality.
Although he was highly active in New York City, he shied away from any semblance of art celebrity life style and spent much of his later life working from his home and studio in Chester, Connecticut. At the beginning of his career when he was gaining notoriety, conservative critics panned him fiercely. Seeking to get away from the frenetic activity of the New York art scene, he went to Spoleto, Italy in the 1980s and remained there for many years. The influence of Italian culture seemed to lend a new opulent quality to his work, and also the launching of his wall paintings, which he called drawings even though they were done with acrylic paint. "He began making colored flagstone patterns, spiky sculptural blobs and ribbons of color, like streamers on New Year's Eve, often as enormous decorations for buildings around the world. It was if he had devised a latter-day kind of Abstract Expressionism . . ." (Kimmelman)
Of his personal modesty it was written: "He tried to suppress all interest in him as opposed to his work; he turned down awards and was camera-shy and reluctant to grant interviews. He particularly disliked the prospect of having his photograph in the newspaper." (Kimmelman)
Sol LeWitt was born in Hartford, Connecticut to Russian immigrant parents. His father, a doctor, died when Sol was age six, and he and his mother then went to live with an aunt in New Britain, Connecticut. His mother encouraged his art talent, and enrolled him in classes at the Wadsworth Atheneum. LeWitt's subsequent residence in Chester, after he was a well-known artist, was near the Atheneum, and he became a strong supporter of that institution including the securing of a long time loan to it of a highly prestigious private collection of modern art.
LeWitt earned a B.F.A. degree from Syracuse University in 1949, and then was drafted in the Korean War. His special assignment was making posters for the Special Services. From 1955 to 1956, he worked as a graphic designer for architect I.M. Pei, who was beginning his career. He also did pasteups for Seventeen magazine...
Category
Late 20th Century Abstract San Francisco - Prints and Multiples
Materials
Etching, Aquatint
UNTITLED - large scale photograph with conceptual message
By Frank Schott
Located in San Francisco, CA
from a series of works capturing conceptual signs in iconic landscapes, captured with a large format camera to allow epic scale print sizes with incredible image details
CLOUD STUD...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment
Why can't you tell
By Robert Rauschenberg
Located in San Francisco, CA
This artwork titled "Why Can't You Tell" from the suite "Nine Prints" is an original screen print with offset lithograph and fabric collage on B.F.K. Rives paper by American artist ...
Category
Late 20th Century Pop Art San Francisco - Prints and Multiples
Materials
Screen
"Untitled" from Suite 10 West Coast Artists
By Keith Boyle
Located in San Francisco, CA
Artist: Keith Boyle – American (1930 - 2023)
Title: “Untitled” from the suite: 10 West Coast Artists, Collector’s Press, 1967
Year: 1967
Medium: Lithograph on ivory wove paper
Image size: 18.5 x 18.5 inches
Sheet size: 23.25 x 22.25 inches.
Publisher: Collector’s Press, San Francisco
Edition: 75.
Signature: Signed lower right in pencil
Numbered: 39/75 lower right in pencil
Condition: Good
This lithograph is from the notable portfolio “10 West Coast Artists” containing ten prints, title page and colophon page, published by Collector’s Press in San Francisco in 1967. Prints by Keith Boyle, Bruce Conner, Richard Diebenkorn, Roy de Forest, Sidney Gordin, Frank Lobdell, James Melchert...
Category
1960s Abstract San Francisco - Prints and Multiples
Materials
Paper, Lithograph
"Untitled" from Suite 10 West Coast Artists
By Jim Melchert
Located in San Francisco, CA
Artist: Jim Melchert – American (1930 - 2023)
Title: “Untitled” from the suite: 10 West Coast Artists, Collector’s Press, 1967
Year: 1967
Medium: Lithogra...
Category
1960s Abstract San Francisco - Prints and Multiples
Materials
Paper, Lithograph
Untitled - from the Suite 10 West Coast Artists
By Sidney Gordin
Located in San Francisco, CA
Artist: Sidney Gordin – American (1918 - 1996)
Title: “Untitled” from the suite: 10 West Coast Artists, Collector’s Press, 1967
Year: 1967
Medium: Lithograph on Arches paper
Size: 22.5 x 30 inches.
Publisher: Collector’s Press, San Francisco
Printed by: Ernest de Soto, Michael Knigin, and Gordon Kluge
Edition: 75.
Signature: Signed lower left in pencil
Embossed publisher’s chop lower left of the Collector’s Press, San Francisco;
Numbered : 39/75 lower left in pencil
Condition: Excellent
This lithograph is from the notable portfolio “10 West Coast Artists” containing ten prints, title page and colophon page, published by Collector’s Press in San Francisco in 1967. Prints by Keith Boyle, Bruce Conner, Richard Diebenkorn, Roy de Forest, Sidney Gordin, Frank Lobdell, James Melchert...
Category
1960s Abstract San Francisco - Prints and Multiples
Materials
Paper, Lithograph
Impressionabilita
By Marino Marini
Located in San Francisco, CA
This artwork titled "Impressionabilita" 1969, is an original color screen print on wove by noted Italian artist Marino Marini, 1901-1980. It is hand signed and numbered 93/125 in pen...
Category
Mid-20th Century Post-Modern San Francisco - Prints and Multiples
Materials
Screen
Desert Crossing - large scale black and white photo of dramatic desert landscape
By Frank Schott
Located in San Francisco, CA
DESERT CROSSING by Frank Schott
from a series of black and white photographs capturing the Golden State's vast desert landscapes
48 x 72 inches / 122cm x 183cm
signed edition of...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Photographic Paper, Black and White, Archival Paper, Giclée, Archival Pi...
Samson and Delila - from the Suite 10 West Coast Artists
Located in San Francisco, CA
Artist: Felix Ruvolo – American (1912 - 1992)
Title: “Samson and Delila” aka “Untitled” from the suite: 10 West Coast Artists, Collector’s Press, 1967
Year: 1967
Medium: Lithograph on Arches paper
Size: 30 x 22.5 inches.
Publisher: Collector’s Press, San Francisco
Edition: 75.
Signature: Signed lower right in pencil
Embossed publisher’s chop lower left of the Collector’s Press, San Francisco;
Embossed printer’s chop lower left of Ernest De Soto
Numbered: 39/75 lower right in pencil
Condition: Excellent
This lithograph is from the notable portfolio “10 West Coast Artists” containing ten prints, title page and colophon page, published by Collector’s Press in San Francisco in 1967. Prints by Keith Boyle, Bruce Conner, Richard Diebenkorn, Roy de Forest, Sidney Gordin, Frank Lobdell, James Melchert, Manuel Neri, Frank Ruvolo, Peter Voulkos are in the portfolio. The print has no margins – it is full bleed. The print is in excellent condition.
Felix Ruvolo was born in New York City in 1912, but raised in the home of his grandparents in Sicily where he first studied with an Italian artist. At age 12, he returned to the home of his parents, who soon moved to Chicago. They were aware of his intense interest in art and had him continue studies with a local artist and then at the Chicago Art Institute.
By 1938 he was exhibiting regularly and was accorded his first invitation to participate in an American Federation of Arts traveling exhibition. Invitations to exhibitions at other major institutions followed--the Whitney Museum of American Art, the Metropolitan Museum of Art, the Brooklyn Museum, the Corcoran Gallery of Art, the Carnegie Institute, the Phillips Gallery Museum, the Pennsylvania Academy, the Walker Art Center, the “Contemporary American Painting” surveys at the Krannert Museum from 1948 to 1961, the Sao Paulo Biennials in Brazil, the Galerie Creuse in Paris. He was represented in the ground-breaking exhibition at the Museum of Modern Art in New York in 1951, “Abstract Painting and Sculpture in America.”
His many one-man shows included those at the Durand Ruel Gallery, the Catherine Viviano Gallery, the Grand Central, the Poindexter Gallery in New York and the University of Southern California. His works entered public and private collections such as the Chicago Art Institute, the Krannert Museum, the Walker Art Center, the Oakland Museum of Art, and the Aukland City Museum in New Zealand. His work was reproduced in national magazines and in anthologies published by the Museum of Modern Art, the Whitney Museum, and Albright Museum in New York, the Los Angeles County Museum, the American Encyclopedia, the Dictionaire de la Peinture Abstraite, and Il Giornale D'Italia.
His teaching career began at the Art Institute of Chicago in 1945 and continued until 1948 when he moved with his wife Mardi to New York. Mills College in Oakland had established a program of bringing distinguished artists, such as Fernand Leger, to the campus as guest instructors. Felix was invited for the summer session of 1948; during that sojourn, he had solo exhibitions in the Mills College Art Gallery and at the De Young Museum in San Francisco. At that time, he met many Bay Area artists who were to become life-long friends of the Ruvolos.
His national reputation had been firmly established, when in 1949 Felix was extended the invitation for appointment to the faculty on the Berkeley campus.
His earlier works were referential, often on fantasy themes. These new paintings were non-objective in idiom, rich in color, line and texture. They were marvelous, they were beautiful, they bespoke his creative genius. Critics came, collectors came, colleagues came, students came, friends from the East came. Artists were invited to serve
as visiting faculty. George McNeil, then Director of the Pratt Institute, said that he accepted an invitation to come to Berkeley because Felix was there.
Among his students who have achieved distinction in the profession are: Wayne Anderson, Walter de Maria, Mark di Suvero, William Brown, Mary Snowden...
Category
1960s Abstract San Francisco - Prints and Multiples
Materials
Paper, Lithograph
Blanchefleur, 1972 (Le Decameron, Plate H)
By Salvador Dalí
Located in Greenwich, CT
Blanchefleur from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 150 Ara...
Category
20th Century Surrealist San Francisco - Prints and Multiples
Materials
Drypoint, Etching
"Color and Black" Large colors etching with aquatint, framed
By Sol LeWitt
Located in San Francisco, CA
This artwork titled "Color and Black #3" 1991 is a colors etching with spit bit aquatint on Somerset textured white paper by renown artist Sol (Solomon) Le Witt, 1928-2007. It is and signed and numbered 11/15 in pencil by the artist. Whit the blind stamp of the publisher/printer at the lower right corner. The image size is 22.75 x 22.75 inches, paper sheet is 40.75 x 39.75 inches, Framed size is 43.25 x 42,5 inches. Published by Crown Point Press, San Francisco. Printed by Lawrence Hamin, Lothar Osterburg, Paul Mullowney and Pamela Paulson at Crown Point Press, San Francisco. Referenced and pictured in the artist's catalogue raisonne #1991.07, plate #03. Custom Framed in a wooden black frame, floated on a white backing, with white spacer. It is in excellent condition.
About the artist:
Known for his modular white cube sculpture, geometric drawings and abstract design paintings including many wall paintings that took teams of people to execute, Sol LeWitt was a major promoter of dominant post World War II Conceptualism and Minimalism. He used geometric shapes and lines to challenge his viewers, and sometimes they seemed logical and other times they seemed to have no basis in either reason or reality.
Although he was highly active in New York City, he shied away from any semblance of art celebrity life style and spent much of his later life working from his home and studio in Chester, Connecticut. At the beginning of his career when he was gaining notoriety, conservative critics panned him fiercely. Seeking to get away from the frenetic activity of the New York art scene, he went to Spoleto, Italy in the 1980s and remained there for many years. The influence of Italian culture seemed to lend a new opulent quality to his work, and also the launching of his wall paintings, which he called drawings even though they were done with acrylic paint. "He began making colored flagstone patterns, spiky sculptural blobs and ribbons of color, like streamers on New Year's Eve, often as enormous decorations for buildings around the world. It was if he had devised a latter-day kind of Abstract Expressionism . . ." (Kimmelman)
Of his personal modesty it was written: "He tried to suppress all interest in him as opposed to his work; he turned down awards and was camera-shy and reluctant to grant interviews. He particularly disliked the prospect of having his photograph in the newspaper." (Kimmelman)
Sol LeWitt was born in Hartford, Connecticut to Russian immigrant parents. His father, a doctor, died when Sol was age six, and he and his mother then went to live with an aunt in New Britain, Connecticut. His mother encouraged his art talent, and enrolled him in classes at the Wadsworth Atheneum. LeWitt's subsequent residence in Chester, after he was a well-known artist, was near the Atheneum, and he became a strong supporter of that institution including the securing of a long time loan to it of a highly prestigious private collection of modern art.
LeWitt earned a B.F.A. degree from Syracuse University in 1949, and then was drafted in the Korean War. His special assignment was making posters for the Special Services. From 1955 to 1956, he worked as a graphic designer for architect I.M. Pei, who was beginning his career. He also did pasteups for Seventeen magazine...
Category
Late 20th Century Abstract San Francisco - Prints and Multiples
Materials
Etching, Aquatint
Le Diable en Enfer, 1972 (Le Decameron, Plate C)
By Salvador Dalí
Located in Greenwich, CT
Le Diable en Enfer from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 1...
Category
20th Century Surrealist San Francisco - Prints and Multiples
Materials
Drypoint, Etching
Hammer and Sickle, 1977 (FS.II.162)
By Andy Warhol
Located in Greenwich, CT
Hammer and Sickle (FS.II.162) is a screenprint on paper, 30.12 x 40 inches, siigned 'Andy Warhol' and numbered 12/50 lower left. Framed in a contemporary gold leaf, closed-corner frame.
Category
20th Century Pop Art San Francisco - Prints and Multiples
Materials
Screen, Paper
The Artist and Biblical Themes, 1974 (M.722)
By Marc Chagall
Located in Greenwich, CT
The Artist and Biblical Themes (M.722) is a lithograph on japon nacre paper, signed 'Marc Chagall' lower right and numbered VIII/X lower left from the edition of 64 (there were also ...
Category
20th Century Modern San Francisco - Prints and Multiples
Materials
Lithograph, Paper
Seascape I - large format photograph of blue tone horizon and sea
By Frank Schott
Located in San Francisco, CA
large scale photograph capturing the soothing tones of nature's calming blue hour color palette
Seascape I by Frank Schott
48 x 64 inches / 122cm x 162cm
signed edition of 7
30 x 40 inches / 76cm x 102cm
signed edition of 25
archival fine art pigment print
signed & numbered by artist on certificate label
-------------------------
Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence.
Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels.
Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Hiroshi Sugimoto, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color.
Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man.
Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco.
_________________________
Edition EKTAlux publishes an evolving curated selection of collectable large-scale photography in strictly limited editions, working closely with each artist to guarantee state-of-the-art museum level print and framing quality.
Custom / larger print sizes available on request
Images can be printed with white border ( 2in L prints / 4in XL prints )
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Archival Pigment, Archival Ink, Giclée
UNTITLED
By Frank Schott
Located in San Francisco, CA
from a series of works capturing conceptual signs in iconic landscapes
captured with a large format camera to allow epic scale print sizes with incredible image details
CLOUD STUD...
Category
21st Century and Contemporary Contemporary San Francisco - Prints and Multiples
Materials
Archival Paper, Photographic Paper, Giclée, Archival Pigment
Mirror #9 (C.114, Mirror Series), 1972
By Roy Lichtenstein
Located in Greenwich, CT
Mirror #9 (C.114) from the Mirror Series is a screenprint and lithograph on paper, 30 x 21.18 inches, signed and dated 'rf Lichtenstein '72' lower center margin and framed in a contemporary white frame.
Catalog -
Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.126, #114.
About Lichtenstein’s Mirror Series (taken from Corlett):
Mirrors were an important subject in Lichtenstein’s paintings and prints of the early 1970s. From late 1969 to 1972 he painted over forty canvases depicting this subject. The first print was in 1970, with Twin Mirrors (cat. no.102) for the Guggenheim Museum. In 1972 he also produced Mirror (cat. No. 115) at Styria Studio, in addition to this Gemini G.E.L. series of nine prints. In the mid-seventies he took up the subject in sculpture, and he returned to it in prints as recently 1990, with Mirror (cat. No 246). In addition, he has often explored the related theme of reflections, incorporating them in various paintings and in several print series: Reflections (1990; cat. Nos. 239 – 245), Interiors (1990, published 1991; cat. nos. 247 – 54), and Water Lilies (1992; cat. nos. 261 – 66).
This Gemini group (catalog nos. 1-6 - 114) utilizes lithography, screenprint, line-cut, and embossing... In an interview with Lawrence Alloway, Lichtenstein noted: “You know, I am always impressed by how artificial things look – like descriptions of office furniture in newspapers. It is the most dry kind of drawing, as in the Mirrors. They really only look like mirrors if someone tells you they do. Only once you know that, they may be moved as far as possible from realism, but you want it to be taken for realism. It becomes as stylized as you can get away with, in an ordinary sense, not stylish.” As Jack Cowart has commented: “One would not actually stand in front of a Lichtenstein Mirror...
Category
20th Century Pop Art San Francisco - Prints and Multiples
Materials
Lithograph, Screen
Je sens monter en moi des chants de plaisir (I Feel Songs of Pleasure Rise in Me
By Théo Tobiasse
Located in San Francisco, CA
Artist: Theo Tobiasse (French/Israeli, 1927-2012)
Title: Je Sens monter en moi des chants de plaisir (I Feel Songs of Pleasure Rise in Me)
Year: Circa 1980
Medium: Color lithograp...
Category
1980s Expressionist San Francisco - Prints and Multiples
Materials
Paper, Lithograph
Read More
Art Brings the Drama in These Intriguing 1stDibs 50 Spaces
The world’s top designers explain how they display art to elicit the natural (and supernatural) energy of home interiors.
Welcome (Back) to the Wild, Wonderful World of Walasse Ting
Americans are rediscovering the globe-trotting painter and poet, who was connected to all sorts of art movements across a long and varied career.
Shapero Modern’s Director Tells Us All about 20th-Century Prints
Tabitha Philpott-Kent knows a lot of art multiples. Here, the London gallery director talks about what makes printmaking so fabulous.
Yoshitomo Nara Puts a Punk Rock Twist on the Traditional Prints of His Ancestors
The forever-rebellious Japanese artist craftily defaces famous Edo Period woodblock prints with “In the Floating World.”
Red Grooms Salutes the ‘Ninth Street Women’ Who Revolutionized Modern Art
In a new show of peppy portraits, the 85-year-old artist looks back at 1950s New York, when the Abstract Expressionists ruled the scene. Only now, the women Ab-Ex artists get more of the spotlight than the men.
Just What Is an Intaglio Print, and What Makes It a Good Investment?
Bay Area art publisher Rhea Fontaine explains the difference between intaglio and woodcut printing, how to frame fine art prints and what makes them attractive to collectors.
Andy Warhol Piles Up the Gifts in This Fanciful Christmas Print
Created in the late 1950s, it’s one of a surprising number of holiday-themed works by the prolific Pop artist.
A Derrick Adams Double Portrait Brings Out the Interior Lives of His Subjects
Adams has skyrocketed to art superstardom with his exuberant depictions of Black life. Here's what makes his work important to our times.
Recently Viewed
View AllMore Ways To Browse
Vintage After 5 Dresses
One Handed Clock
Balloon Plates
Keith Grace
Velvet Underground
George Washington Pop Art
Japanese Ink Bird
Vintage Dance Floor
Tiffany Chicago
Vintage Dj
Colorful Prints Pair
Female Nude Small Sculpture
Abstract Still Life Braque
Police Sign Vintage
Swimming Poster
Art Grand Piano
Man With Umbrella
Vintage Earth Poster