Screen Abstract Prints

80 x 94 cms (31.5 x 37 ins) Edition of 100

Sol LeWitt Color Grids, All Vertical & Horizontal Combinations of Black, Yellow, Red & Blue Straight, Not-Straight & Broken Lines, 1980 Silkscreen on Arches 88 Paper Hand signed, num...

Cathedral of Christ the Savior. 1989, paper, screen print, 60x32.5 cm

Frank Stella (Whitney Museum Exhibited) Shards IVA (Axsom 151), 1982 Lithograph & Silkscreen on Arches Cover Paper (Whitney Museum exhibition label verso of frame) 45 1/2 × 39 1/4 in...

Artist: Gene Davis (American, 1920-1985) Title: "Royal Curtain" *Signed by Davis in pencil lower right Year: 1980 Medium: Original Screenprint on Arches paper Limited edition: 250, (the number may differ from what is shown in the photos) Printer: Alpha Omega...

Nancy Graves 5745, for the Jewish Museum, 1984 Silkscreen on paper Signed, numbered 5/90 and dated in graphite pencil on the front; bears publishers' blind stamp front left corner 3...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Robert Petersen Eight of Hearts, 1989 Mixed media silkscreen with hand applied acrylic on paper with deckled edges Hand signed, numbered 6/21, dated, and inscribed on the front Uniqu...

Screen Print in colors on Museum Board, Edition of 100 Signed and Dated Provenance: Artist Studio Private Collection. CA Private Collection, NY

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

Screen Print in colors on Museum Board, Edition of 100 Signed and Dated Provenance: Artist Studio Private Collection, CA Private Collection, NY

A colorful OP Art silkscreen by Poland-born American OP Artist, Julian Stanczak. Artist: Julian Stanczak, American (1928 - 2017) Title: Compounded Red Year: 1981 Medium: Screenpri...

Artist: Gene Davis Title: Royal Curtain Medium: Screenprint on Arches paper Date: 1980 Edition: 181/250 Frame Size: 35" x 26 1/2" Sheet Size: 29 3/4" x 21 3/4" Signature: Signed and ...

Yaacov Agam (b. 1928) Untitled, c. 1980 Silkscreen print Sight: 33 1/2 x 20 1/2 in. (image) Framed: 52 x 29 1/8 x 1 in. Signed lower right Inscribed verso Yaacov Agam was born Yaac...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

David Hockney, Bridget Riley, Joe Tilson, Howard Hodgkin, Peter Blake + 99 artists Visual Aid for Band Aid - designed, and hand signed and annotated by 104 renowned artists, with official signed COA, 1985 Large olor silkscreen on velin Arches 300 gsm paper with publishers' blind stamp and COA Signed and annotated in various inks and pencil by all 104 artists listed in the official publishers' COA affixed to the back of the frame; numbered 215/500 Publisher Coriander Studio, United Kingdom Frame included: Floated and framed in a wood frame under UV acrylic glazing Measurements: Framed: 59.5 inches (vertical) by 39 inches (horizontal) by .75 inches (depth) Artwork: 48 inches (vertical) by 36 inches (horizontal) Some of the 104 renowned visual artists who signed and annotated this print in pencil are: Bridget Riley, David Hockney, Peter Blake, Allen Jones, Eduardo Paolozzi, Elisabeth Frink, R.B. Kitaj, Richard Hamilton, Howard Hodgkin, Joe Tilson, Patrick Heron, Paula Rego, Terry Frost, Patrick Caulfield, Craigie Aitchison...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

Artist: Jurgen Peters, German (1936 - ) Title: Rainbow Waves Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 250, AP 30 Image Size: 18.5 x 34 inches Size...

Lithograph, waxtype woodcut and screenprint on 638-g/m cold-pressed Saunders Waterford Paper. From the "Brushstroke Figures" series, 1989. Hand signed rf Lichtenstein, dated ('89) a...

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in white, back, blue gray (silver). Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 16 Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 70 Image Size: 31 x 36 inches Size: 32 x 37.5 ...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 11 (The Butterfly) Year: 1980 Medium: Silkscreen, signed in pencil Image Size: 19 x 27 inches Size: 22 x 30 in. (55.88 ...

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in black, gray (silver). Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in blue gray (silver). Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Artist: Pierre Clerk, Canadian (1928 - ) Title: Morocco Series #10 Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 300, AP 45 Image Size: 21 x 36 inches Paper S...

Silkscreen on Arches paper, Hand signed and Numbered in Pencil. Serigraph in yellow, red, silver Chryssa Vardea-Mavromichali (Greek: Χρύσα Βαρδέα-Μαυρομιχάλη; December 31, 1933 – December 23, 2013) was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations, she has always used the mononym Chryssa professionally. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. Chryssa was born in Athens into the famous Mavromichalis family from the Mani Peninsula. one of her sisters, who studied medicine, was a friend of the poet and novelist Nikos Kazantzakis. Chryssa began painting during her teenage years and also studied to be a social worker.In 1953, on the advice of a Greek art critic, her family sent her to Paris to study at the Académie de la Grande Chaumiere where Andre Breton, Edgard Varese, and Max Ernst were among her associates and Alberto Giacometti was a visiting professor. In 1954, at age twenty-one, Chryssa sailed for the United States, arrived in New York and went to San Francisco, California to study at the California School of Fine Arts. Returning to New York in 1955, she became a United States citizen and established a studio in the city. Chryssa's first major work was The Cycladic Books preceded American minimalism by seventeen years. 1961, Chryssa's first solo exhibition was mounted at The Guggenheim. 1963, Chryssa's work was shown at the Museum of Modern Art in curator Dorothy Canning Miller's Americans 1963 exhibition. The artists represented in the show also included Richard Anuszkiewicz, Lee Bontecou, Robert Indiana, Richard Lindner, Marisol, Claes Oldenburg, Ad Reinhardt, James Rosenquist and others. 1966, The Gates to Times Square, regarded as "one of the most important American sculptures of all time" and "a thrilling homage to the living American culture of advertising and mass communications." The work is a 10 ft cube installation of two huge letter 'A's through which visitors may walk into "a gleaming block of stainless steel and Plexiglas that seems to quiver in the play of pale blue neon light" which is controlled by programmed timers. First shown in Manhattan's Pace Gallery, it was given to the Albright-Knox Art Gallery in Buffalo, New York in 1972. 1972, The Whitney Museum of American Art mounted a solo exhibition of works by Chryssa. That's All (early 1970s), the central panel of a triptych related to The Gates of Times Square, was acquired by the Museum of Modern Art between 1975 and 1979. 1973, Chryssa's solo exhibition at the Gallerie Denise René was reviewed for TIME magazine by art critic Robert Hughes before it went on to the Galleries Denise René in Düsseldorf and Paris. Other works by Chryssa in composite honeycomb aluminum and neon in the 1980s and 1990s include Chinatown, Siren, Urban Traffic, and Flapping Birds. Chryssa 60/90 retrospective exhibition in Athens in the Mihalarias Art Center. After her long absence from Greece, a major exhibition including large aluminum sculptures - cityscapes, "neon boxes" from the Gates to the Times Square, paintings, drawings etc. was held in Athens. In 1992, after closing her SoHo studio, which art dealer Leo Castelli had described as "one of the loveliest in the world," Chryssa returned to Greece. She found a derelict cinema which had become a storeroom stacked with abandoned school desks and chairs, behind the old Fix Brewery near the city center in Neos Kosmos, Athens. Using the desks to construct enormous benches, she converted the space into a studio for working on designs and aluminum composite honeycomb sculptures...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Abstract Hebrew Prints on heavy mould made paper from small edition of 15. there is a facing page of text in Hungarian folded over. Hard edged geometric abstract prints in color base...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Thermal Inversion Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 140 Image Size: 18 x 25 inches Size: 22 x 29...

Artist: James Norman, American (1927 - 2011) Title: Winter Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 40/50 Image Size: 22 x 32 inches Size: 25 x 38 in. (...

Artist: James Norman, American (1927 - 2011) Title: Fall Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 34/50 Image Size: 22 x 32 inches Size: 25 x 38 in. (63...

Artist: James Norman, American (1927 - 2011) Title: Oscillation I Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 35/95 Image Size: 10 x 33 inches Size: 25 x 3...

Artist: James Norman, American (1927 - 2011) Title: Summer Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 39/50 Image Size: 22 x 32 inches Size: 25 x 38 in. (...

Artist: James Norman, American (1927 - 2011) Title: Oscillation II Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 38/95 Image Size: 10 x 32 inches Size: 25 x ...

Tar and Feather Paul Arthur Jansen, American (1945) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 225, AP 40 Image Size: 25 x 23 inches Size: 30 in. x 26 in....

Artist: James Norman, American (1927 - 2011) Title: Spectral Image IV Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 67/95 Image Size: 7 x 36 inches Size: 25 ...

Artist: Gene Davis (1920-1985) Title: Giant Green Year: 1980 Medium: Silkscreen on Arches paper Edition: 43/250, plus proofs Size: 29.75 x 32.5 inches Condition: Excellent Inscriptio...

Judith L. Posner and Association Poster Yaacov Agam, Israeli (1928) Date: 1980 Screenprint Poster, unique signature in colored pencil Size: 38 x 23.75 in. (96.52 x 60.33 cm)

Judith L. Posner and Association Poster Yaacov Agam, Israeli (1928) Date: 1980 Screenprint Poster, unique signature in colored pencil Size: 38 x 23.75 in. (96.52 x 60.33 cm)

Judith L. Posner and Association Poster Yaacov Agam, Israeli (1928) Date: 1980 Screenprint Poster, unique signature in colored pencil Size: 38 x 23.75 in. (96.52 x 60.33 cm)

Judith L. Posner and Association Poster Yaacov Agam, Israeli (1928) Date: 1980 Screenprint Poster, unique signature in colored pencil Size: 38 x 23.75 in. (96.52 x 60.33 cm)

Sharon Sutton A Symphony for Pink Candy 1981 Print - Screen print on Somerset Paper paper size 29.5'' x 29.5'' inches image size 24" x 24" inches Edition: Signed, titled and numbere...

Untitled-27 Chryssa, Greek (1933–2013) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 125 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Sharon Sutton I Am Here In The World - 1981 Print - Silkscreen print on Somerset Paper paper size 29.5'' x 29.5'' inches Edition: Signed, titled and numbered in pencil 190/200 Sha...

Friedel Dzubas (1915-1994) was a Berlin-born, American abstract painter and a key artist associated with both the New York School and the Color Field movement. Dzubas studied art i...

Artist: James Rosenquist Title: New York New York - Communications Center Year: 1983 Medium: Screenprint and Offset Lithograph, signed and numbered in pencil Edition: 250 Paper Size...

Serigrafia a colori su carta. Firmata a matita in basso a destra, numerata n. IV/XV in basso a sinistra. E' corredata di autentica su foto della Casa d'arte "Il borghetto" di Milano...

Sharon Sutton Time In A Most Tantalizing Space - 1981 Print - Silkscreen print on Somerset Paper paper size 29.5'' x 29.5'' inches image size 24" x 24" inches Edition: Signed, title...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

Landscape of memory is a contemporary artwork realized by Shu Takahashi in 1987. Mixed colored screen print.  Hand signed and dated on the lower margin. Numbered on the lower marg...

Artist: Rafael Bogarin – Venezuelan (1946- ) Title: Jupiter 4 Year: 1980 Medium: Screen Print Sight size: 19.5 x 25.5 inches. Sheet size: 22.5 x 28.5 inches. Signature: Signed lower right Edition: 295 This one: 116/295 Condition: Excellent Unframed This exceptional geometric abstract serigraph is by the noted Venezuelan artist Rafael Bogarin (1946- ). This is Jupiter 4. I have others from the series, also for sale. The print has never been framed and is in excellent condition. It measures 22.5" x 28.5". Rafael Bogarin is an established contemporary Venezuelan artist known for his abstract serigraphs. Bogarin was born in 1946, in El Tigre, where he grew up making his own toys and learning to draw. He studied in Caracas at the Cristobal Rojas School of Fine Arts, specializing in lithography and etching. From 1970 to 1992, Bogarin, like so many artists, lived in New York. As he explored various techniques, he became an expert in serigraphs, earning himself acclaim in Latin America as a pioneer. In South America he traveled the continent giving classes and learning about native cultures. When he returned to the land of his youth, he was inspired to create the concept of the entire world in the Museo Vial in El Tigre in 1982. Later he made others along the route between Colombia and Venezuela. Recently he has been creating and realizing ideas like the Museo de Murales a Cielo Abierto (Museum of Murals to the Open Sky). Detailed biographical information (source: artist's website): Rafael Bogarín was born in El Tigre, Anzoátegui state, Venezuela, on January 20, 1946. He studied at the Cristóbal Rojas School, which he finished in 1966; Among his teachers are Luis Guevara Moreno, Pedro León Zapata, Luisa Palacios and Luis Chacón. Upon returning from school he founded the Zapato Roto group with other artists, with the aim of taking art to the streets. In 1966 he directed the outdoor exhibitions of the Venezuelan American Center, and two years later he participated in the XXVIII Official Salon, where he received the Rome Prize. During that time he ordered elements such as nuts and serrated blades in relation to discs engraved with burin and other techniques, and made the final impression in planes of one color. In 1970 he received a scholarship and traveled to New York; He studies at the Pratt Graphic Center and the Blackburn Printmaking Workshop. In 1973 he founded, together with Manuel Kohn, the Bogarín Printmaking Workshop, a workplace for Venezuelan artists living in the United States; This workshop, of which he has been master printer, allowed continuity to his artistic work. Bogarín investigates the possibilities of super eight cinema and makes films with quality similar to commercial formats; From these experiences emerge The Lonely World (1975) and New World Symphony (1976). In 1977 he deepened his study of color with The New Color, a portfolio where he produced superimposed colors through transparencies and glazes. His teaching experience includes courses at the Rafael Monasterios School of Plastic Arts in Maracay (1969-1970), Ceagraf (1979), as well as workshops in various cities around the world. In 1980 he made an exhibition of silkscreen prints in cities in Italy, El Salvador, Colombia, Mexico and the United States. That year he resumed his interest in outdoor exhibitions with a museum project with murals by 30 artists for El Tigre (Venezuela); The Rafael Bogarín Road Museum was inaugurated in 1982 and brought together 30 murals on 2 x 4 meter fences, by artists such as Mario Toral, Édgar Sánchez and Paul Davis. He carried out the project to recover the architectural spaces of El Tigre (Venezuela), through murals, sculptures, plazas and humanized spaces. In 2006 he painted the largest painted flag in the world in El Tigre, Venezuela. Bogarín has exhibited his work on all 5 continents and currently lives and works in Panama City in his private workshop and in the Articruz workshop. Individual exhibitions Ø 1966. Gallery of the Medical College. Caracas Venezuela. Ø 1966. Venezuelan American Center. Caracas Venezuela. Ø 1970. Protobello Gallery. Caracas Venezuela. Ø 1977. First National Bank of Louisville. Luosville, Kentucky, USA. Ø 1978. Venezuela Gallery. New York City, USA. Ø 1979. Julián Marchena Room, Museum of Costa Rica. San Jose Costa Rica. Ø 1979. La Otra Banda Gallery. Merida, Venezuela. Ø 1980. Galeter Center. Adro, Italy. Ø 1980. Gallery of Modern Art. Santo Domingo Dominican Republic. Ø 1980. Jewish Community Center. Monmouth, New Jersey, USA. Ø 1980. Frank Fedele Fine Arts. New York City, USA. Ø 1980. El Túnel Gallery. Guatemala, Guatemala. Ø 1981. Garcés – Velásquez Gallery. Bogota Colombia. Ø 1982. Siete Siete Gallery. Caracas Venezuela. Ø 1984. Acquavella Gallery. Caracas Venezuela. Ø 1985. Cultural Center. Santa Cruz, Bolivia. Ø 1992. Sotage Gallery, Puerto La Cruz, Venezuela. Ø 2017. Arteconsult Gallery. Panama City, Panama. Awards Ø 1969. Rome Prize. XXIX Official Salon of Venezuelan Art, Museum of Fine Arts. Caracas Venezuela. Ø 1971. Honorable mention. First Young Artists' Salon. Maracay, Venezuela. Ø 1984. First prize, Salón Aragua. Maracay, Venezuela. Murals Ø 1974. Venezuelan Consulate. New York City, USA. Ø 1982. Creator of the First Road Museum in the World. El Tigre, Venezuela. Ø 1983. Road Museum. Roldanillo, Colombia. Ø 1984. Bicentennial Road Museum. Cucuta, Colombia. Ø 2000. Ceramic mural. Dairy, Venezuela. Group exhibitions Ø 1963 to 1966. Spiral Gallery. Caracas Venezuela. Ø 1966. El Pez Dorado Gallery. Caracas Venezuela. Ø 1966. “Zapato Roto” Festival. Caracas Venezuela. Ø 1967. D´Empaire Hall. Maracaibo Venezuela. Ø 1970. Drawings and engravings room. Central University of Venezuela. Caracas Venezuela. Ø 1966 and 1971. Arturo Michelena Hall. Valencia, Venezuela. Ø 1966 to 1968. Annual Venezuelan Art Salon. Museum of Fine Arts. Caracas Venezuela. Ø 1968. Luis Ángel Arango Library. Bogota Colombia. Ø 1969. Tertulia Room. Cali, Colombia. Ø 1969. Lunn Gallery. Washington, DC, USA. Ø 1969. Gallery of Visual Arts. Maracay, Venezuela. Ø 1970. Venezuelan Cultural Week. Miami and Jamaica. Ø 1972. Two Rivers Gallery. Binghampton, New York City, USA. Ø 1972. Moos Gallery. Montreal, Canada. Ø 1973. Spoleto Festival. Italy. Ø 1974. Young Artists, Union Carbide Building. New York City, USA. Ø 1975. Government of Caracas. Caracas Venezuela. Ø 1975. Graphic VII, Mendoza Gallery. Caracas Venezuela. Ø 1976. Brooke Alexander Gallery. New York City, USA. Ø 1977. Denise Rene Gallery. New York City, USA. Ø 1978. Sam Flax...

I was told this might be by another David Prentice. as I am uncertain I will add his bio. I cannot ascertain which one it is. Vintage 1981 DAVID PRENTI...

Motif (Abstract) in orange abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

Motif (Abstract) in lavender purple. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. ...