Michael Challenger

Lunar Tables, Signed Modern Screenprint by Michael Challenger

1969

Artist: Bill Sontag, American (b. 1932) Title: Urban Walls: Cincinnati Year: 1971 Edition: 85/150 Medium: Screenprint, signed and numbered in pencil Image Size: 24 x 32 inches Size: ...

Artist: Xiu-ping Liao, Taiwanese (1936 - ) Title: Wisdom Year: 1972 Medium: Silkscreen with Embossing on Foil paper, signed and numbered Edition: 2/50 Size: 20 x 26 inches

Concentric Space (White) Clarence Holbrook Carter American (1904–2000) Date: 1969 Screenprint, signed and numbered in pencil Edition of 50 Image Size: 23.5 x 19.5 inches Size: 25 x...

AM Elder - Bathing in Distortions, Year: 1974, Medium: Screenprint, signed, titled, numbered and dated in pen, Edition: 2/10, Image Size: 14 x 23.5 inches, Size: 17 x 25.25 in...

Cozette de CHARMOY (1939-) Battlefield List Screen Print Handsigned in pencil Limited to 75 copies and a few EA (here an EA proof) On Arches vellum 88 x 60 cm (c. 35 x 24 inch) Exc...

Alex Katz (born 1927) Reflection 2 2021 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 47 x 39.5 inches (119 x 100.3 cm) Edition of 81/100 With flat plane...

One of the most experimental & courageous printmakers of the 20th century, Robert Motherwell’s, Untitled #6 (from The Basque Suite) demonstrates the bold, highly saturated areas of c...

Anthony Velonis (1911-1997) was an extremely innovative artist. He learned the technique of screen printing, also known as silkscreen, (for which he also coined the term serigraphy) while working with a wall paper manufacturer. Unusual for fine prints, the image is made by the artist in the same direction as it will print, as the colored inks are forced through fabric (silk) directly onto a paper surface. (He also invented a machine that could print onto column-shaped items such as cocktail glasses or make-up bottles and a rack system for drying sheets of paper with wet ink in which the sheets are just inches apart.) The technique allows extreme versatility on the part of the artist and the ink tends to sit on top of the paper rather than soak into the fibers. In 1934 Velonis used this new technique on Mayor LaGuardia's NYC Poster...