American Modern Abstract Prints

Original 1982 Pink Floyd, The Wall vintage movie poster. Archival linen backed International edition in the size of 27” x 41” ready to frame. Excellent condition. No restoration...

Charles Quest, 'Still Life', 1947, wood engraving, edition 8. Signed, dated, and numbered '3/8' in pencil. Titled and annotated 'wood engraving' in the bottom left margin. A fine impression, on off-white wove paper, with full margins (1 to 2 inches), in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Leonard Baskin (1922-2000) Death of the Laureate, `1957 Wood Engraving Framed: 18 1/2 x 18 in. Signed and inscribed bottom: Death of the Laureate, Ed. 20, For Walter [Rosenblum], Leo...

Alexander CALDER Composition with Red and Blue Ball Original lithograph (printed in Mourlot workshop) Printed signature in the plate On Arches vellum 25 x 19 cm (c. 10 x 8 inch) Edi...

Richard Florsheim created this color lithograph entitled “Warf-Side” in 1962 in an edition of 60 pieces. This impression is signed and inscribed “Trial Proof” and printed at the Mour...

'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet wi...

George Rogers, 'Sculpturegraph' (Black, Gray, and Silver), color sculpturegraph, edition 40, 1984. Signed, dated, titled, and numbered '25/40' in pencil. A superb, richly-inked, pain...

1975 Color Lithograph by Alexander Calder from Our Unfinished Revolution portfolio One of 250 copies, with the printed signature and date on offset paper. This is not pencil signed ...

Richard Florsheim created this color lithograph entitled “Approaching Storm” in 1967 in an edition of 125 pieces. Published by Associated American Artists and printed by Mourlot Press, Paris, this impression is signed and inscribed “Artist Proof.” It is in good condition with full original color. The printed image size is 28.25 x 19 3/4 inches and the paper size is 31.12 x 22 inches. RICHARD ABERLE...

Robert Vale Faro, 'Easter Sunday', color lithograph, 1946, edition 31. Signed, dated, titled and numbered '116' and '17/31' in pen. A fine impression, with fresh colors, on heavy, off-white wove paper; full margins (1 1/4 to 2 inches), in excellent condition. Image size 21 x 13 1/2 inches; sheet size 24 3/4 x 16 1/4 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

From the estate of Jerry Opper and Ruth Opper Abstract Line Print c.1950's Stone Lithograph on Paper 25" x 19.5" Unframed Estate stamp lower left Came from ...

Edward Landon 'Chinoiserie', color serigraph, 1947, edition 50, Ryan 36. Signed in pencil in the image, lower right. Titled, dated, and annotated '4 COLORS – EDITION 50' in the scree...

"Equal Justice Under Law" Screenprint #99/125 on Wove Paper Iconic composition by Robert Rauschenberg (American, 1925-2008). A red envelope and a hand holding sprouted grass the pli...

1975 Color Lithograph by Alexander Calder from Our Unfinished Revolution portfolio One of 250 copies, with the printed signature and date on offset paper. This is not pencil signed ...

Edward Landon 'Exhortation (Priest)', color serigraph, 1957, edition 28, Ryan 72. Signed, titled, and numbered '21/28' in pencil. A superb, richly-inked impression, with strong color...

Edward Landon, 'Time Silhouette', color serigraph, 1969, edition 30, Ryan 201. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on cream wo...

Alexander Calder Rocks and Sun, 1952 Original Lithograph (3 color stones) Printed in Mourlot workshop On vellum 31 x 24 cm (c. 12,2 x 9,5 in) Edited by San Lazzaro in 1952 Very goo...

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...

"Wayne Thiebaud: Survey 1947-1976" Show Poster from the Oakland Museum 1976-1977 Silkscreen poster from the Oakland Museum 1976-1977 show "Wayne Thiebaud: Survey 1947-1976" with a printing of an original drawing (Six Candied Apples...

Richard Florsheim created this color lithograph entitled “Incandescent City” in 1960 in an edition of 35 pieces. This impression is signed and inscribed “34/35.” It is in good condit...

Albert Heckman (1893-1971), 'Bridge at Poughkeepsie', lithograph, 1934, edition 30. Signed, titled, and annotated '30 Impressions' in pencil. A superb, richly-inked impression, on cr...

Edward Landon, 'Flyable Objects Identified', color serigraph, 1969, edition 30, Ryan 83. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, o...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

This is a unique mixed media edition of 50. on handmade paper with fabric, gold and other elements. Raised and educated in New York, Pat Hammerman is an ...

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 to 1 3/8 inches), in excellent condition. Very rare. Matted to museum standards, unframed. Image size 8 3/4 x 6 inches (222 x 152 mm); sheet size 11 x 7 1/2 inches (279 x 192 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine...

Pintori, Giovanni. Olivetti. 1967. 2nd printing. 1st Printing 1946. Offset Lithograph. Rare Giovanni Pintori (1912 – 1999) was an Italian graphic designer and painter. His most famous works are the advertisement posters for Olivetti typewriters...

"Colors in Space II" (SF-95) Signed Printer's Proof Lithograph on Archival Paper Bright and playful abstract composition by Sam Francis (American, 1923-1994). Splashes of yellow, or...

Eduardo CHILLIDA (after) Composition in Black Lithograph Signed in the plate On kraft paper 81 x 55,5 cm (c. 32 x 22 in) Excellent condition

James Rosenquist An Intrinsic Existence, 1975 Original lithograph (Printed in Mourlot workshop) Unsigned On vellum 31 x 24 cm Edited by San Lazarro, 1975 Excellent condition

JOSEF ALBERS, Bottrop 1888 - New Haven 1976 Homage to the Square (diptych), 1971 Original colored serigraph. Perfect copies published in 1971 by the Ives-Sillman Inc. edition, New Ha...

Glowing Tree Etching, engraving & lift ground, 1958 Signed, titled and annotated in pencil (see photos) Edition: Artist Proof (there was a published addition of 30 with five stencil ...

Charles Quest, 'Work Bench', 1949, wood engraving, edition 40. Signed, dated and numbered 9/40 in pencil. Titled and annotated 'wood engraving 1949' in pencil, in the artist’s hand, lower right margin. A fine, richly-inked impression, on off-white wove Japan, with full margins (1 3/4 to 2 inches), in excellent condition. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, a successful artist, and fine art instructor, worked in a variety of mediums including mosaic, stained glass, mural painting, and sculpture, but remains best known as a printmaker. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929, and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium which he apparently learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting a lot of critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’ were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’ and the print ‘Still Life with Vise’, was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in the Graphic Arts Division of the Smithsonian's National Museum (now known as the American History Museum). This one-man exhibition was a remarkable achievement for Quest, who had been working in the medium for only about ten years. In the press release for the show, Kainen praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had also won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. Charles Quest retired from teaching in 1971 and made relatively few prints in his later years, as the rigors of the medium were too demanding. He moved to Tryon, North Carolina, with his wife Dorothy, an artist and portrait painter, and remained active as a painter until his death in 1993. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted the interest of Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for the University's collection. In 1990 Georgetown University Library's Special Collections Division became the grateful recipient of a large body of Quest's work including prints, drawings, paintings, sculpture, and stained glass, as well as his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Little is known about the artist, Edward (Ed) Sacks, although this print may have been made at the Art Students League in NYC. it is a cross between, as the title suggests, a Seated ...

Gerry Mulligan, Baritone Sax - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Gerry Mulligan sits on a stool holding his ba...

Edward Landon, 'Salient in February', color serigraph, 1945, edition 25, Ryan 166. Signed in pencil. Titled, dated, and annotated 'ED. 40' in pencil. A fine impression, with fresh colors, on cream, wove paper; with full margins (1 3/4 to 2 5/8 inches, top sheet edge deckle); in excellent condition. Image size 9 x 11 inches; sheet size 12 3/4 x 16 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931, he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...

Sam FRANCIS Color Explosion (c. 1983) Original lithograph Unsigned as issued On heavy paper 89.5 x 54 cm (c. 36 x 21 inch) Original lithographic exhibition poster for the artist Ret...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Any work by Tobias Musicant is terrific. These New Jersey-made, mid-century near abstractions are generally scarce. The pieces I know are master works of American Modernism. Cubist c...

Robert Vale Faro, 'Kaf With', color lithograph, 1945, edition 15. Signed, dated, titled and numbered '84' and '6/15' in pen, recto. Titled, numbered '#84' and '6/15' and dated '7/22/...

"Unicorn Moebius II" - Trial Proof Lithograph in Ink on Laid Paper High contrast, multi-layer etching by Bruce Weinberg (American, 1942-1994). A moebius strip is shown against a dar...

Black & Moorhead 158. In just the middle inch or so of this image Hayter has managed to draw in a female nude and a horse, with special attention to the head. It was Hayter's custom ...

Untitled (Plate 1) DLM Color lithograph, 1963 Unsigned and unnumbered (as usual) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Image/sheet size: 14 7/8 x 11 inches...

Standard Oil Building. 1923. Etching. Wuerth 817. 12 1/4 x 9 1/4 (sheet 13 1/2 x 10 1/16). Edition probably 50. A glowing impression, printed by the artist on antique cream wove paper. Signed and annotated 'imp' in pencil. Housed in a 20 x 16-inch archival mat proof printed by the artist. $875. 26 Broadway" is the home of the Standard Oil...

"Dodge Rebellion Girls" - 1967 Silkscreen on Paper 1967 color silkscreen depicting the Dodge Rebellion Girls by Marc Foster Grant (American, b. 1947). A silhouette of the 'dodge gi...

"Henry S. Miller" Lithograph in Ink on Paper, #3 of 8 Surrealist lithograph by Stephen Tracy White (American, 1947-2005). A figure in the lower right corner is partially enclosed by a red rectangle. Biomorphic shapes are flowing out of the rectangle, stretching across the composition. The shapes are rendered with intricate linework and soft green shading. Numbered, titled, signed, and dated along the bottom: 3/8 Henry S. Miller S. Tracy White 1969/April Tag on verso from Lee Nordness Galleries, New York Presented in a silver aluminum frame. Shipped without glass. Frame size: 26.5"H x 36.25"W Image size: 23.5"H x 34.25"W Stephen Tracy White (American, 1947-2005) was born in Bronwood, Georgia. They studied at the University of New Mexico, earning a Bachelor of Fine Arts in Art in 1969. They worked at the Tamarind Lithography Workshop, printing pieces by William Crutchfield...

Sister Mary Corita Kent (American, 1918-1986) He Repeated the Letters of the Alphabet... Color Screenprint 22.5 x 38.75 inches Signed Lower Right Sister Mary Corita Kent, once the n...

"Abstract in Gold and Black" is a well-balanced calm piece. The placement of the gold and white can be read as a distant landscape giving much imagined space to the heavier black area which contains a linear element and the color blue. Semivan is a Master Printmaker and sculptor. He often breaks his surfaces and extends beyond the perimeters in his sculptures. The particular placement of the black area in this piece suggests such a breakage beyond the edge where one imagines a continuation of the strokes or linear elements. This is an altogether extraordinary print. Born in Detroit, Michigan, Douglas Semivan...

Things Kept Color lithograph, 1970 Signed & titled in pencil (see photos) Annotated: "Artists Proof" Printed on RIVES wove paper Condition: Excellent Sheet has aging consistent with ...

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...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Title: Haven, STATE II Lithograph, 1986 Edition 4/4 Printer Proof Image Size 21.5 x 30.75" Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts and Letters, National Endowment for the Arts, New York State Council on the Arts and the Tiffany Foundation. He has had over fifty one-person exhibitions in museums and galleries throughout the United States and Europe. His work is in the permanent collections of more than thirty museums, including the Whitney Museum of American Art, the Museum of Fine Arts in Boston, the Museum of Modern Art in New York and the Metropolitan Museum of Art. His work has the influence of both Abstract Expressionism and Pop Art in it, biomorphic forms in rich hues and thick textures with heightened colors and abstracted, organic forms, late American Modernism. He moved to New York in 1979, the artist rose to critical acclaim in the 1980s alongside Terry Winters, Bill Jensen, and Katherine Porter. The artist lives and works between New York, NY and his Hudson Valley residence. Amenoff served as President of the National Academy of Design from 2001-2005. He is a founding board member of the CUE Art Foundation in New York City and serves as the CUE Art Foundation's Curator Governor. Amenoff has taught at Columbia for the last eighteen years, where he holds the Eve and Herman Gelman Chair of Visual Arts and is currently the Chair of the Visual Arts Division in the School of the Arts. He is currently the Vice-President of the National Academy. In 2011 he received the John Solomon Guggenheim Fellowship. Museum Collections Albright-Knox Art Gallery; Buffalo, NY Art Institute of Chicago; IL Baltimore Museum of Art; Brooklyn Museum of Art; Brooklyn, NY Butler Institute of American Art; Youngstown, OH Cleveland Museum of Art; Cleveland, OH Currier Gallery of Art; Manchester, NH Frances and Sidney Lewis Foundation; Richmond, VA Hood Museum of Art; Hanover, NH Honolulu Academy of Art; Honolulu, HW Kemper Museum of Contemporary Art; Kansas City, MO Maier Museum of Art; Lynchburg, VA Metropolitan Museum of Art; New York, NY Milwaukee Museum of Art; Milwaukee, WI Minneapolis Institute of Art; MN Muscarelle Museum of Art, College of William and Mary; Williamsburg, VA Museum of Fine Arts; Boston, MA Museum of Modern Art; New York, NY National Museum of American Art; Washington, DC Neuberger Museum, State University of New York at Purchase; NY New York Public Library, Spencer Collection...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Monotype Monoprint (1990) Hand signed in pencil lower right plate: 16 x 16 inches frame dimensions: 35 1/8 x 29 1/8 x 1 5/8 inches, wood frame with glazing Provenance: Corporate Collection of Bank BNP Paribas Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts and Letters, National Endowment for the Arts, New York State Council on the Arts and the Tiffany Foundation. He has had over fifty one-person painting exhibitions in museums and galleries throughout the United States and Europe. His work is in the permanent collections of more than thirty museums, including the Whitney Museum of American Art, the Museum of Fine Arts in Boston, the Museum of Modern Art in New York and the Metropolitan Museum of Art. His work has the influence of both Abstract Expressionism and Pop Art in it, biomorphic forms in rich hues and thick textures with heightened colors and abstracted, organic forms, late American Modernism. He moved to New York in 1979, the artist rose to critical acclaim in the 1980s alongside Terry Winters, Bill Jensen, and Katherine Porter. The artist lives and works between New York, NY and his Hudson Valley residence. He works in woodcut, lithograph and monoprint techniques. He was a collaborating artist illustrating Bradford Morrow, Bestiary along with Joe Andoe, James Brown, Vija Celmins, Louisa Chase, Eric Fischl, Jan Hashey, Michael Hurson, Mel Kendrick, James Nares, Ellen Phelan, Joel Shapiro, Kiki Smith, David Storey, Michelle Stuart, Richard Tuttle, Trevor Winkfield, Robin Winters. Linoleum cuts with pochoir and woodcuts for the Grenfell Press, New York. Amenoff served as President of the National Academy of Design from 2001-2005. He is a founding board member of the CUE Art Foundation in New York City and serves as the CUE Art Foundation's Curator Governor. Amenoff has taught at Columbia for the last eighteen years, where he holds the Eve and Herman Gelman Chair of Visual Arts and is currently the Chair of the Visual Arts Division in the School of the Arts. He is currently the Vice-President of the National Academy. In 2011 he received the John Solomon Guggenheim Fellowship. Museum Collections Albright-Knox Art Gallery; Buffalo, NY Art Institute of Chicago; IL Baltimore Museum of Art; Brooklyn Museum of Art; Brooklyn, NY Butler Institute of American Art; Youngstown, OH Cleveland Museum of Art; Cleveland, OH Currier Gallery of Art; Manchester, NH Frances and Sidney Lewis Foundation; Richmond, VA Hood Museum of Art; Hanover, NH Honolulu Academy of Art; Honolulu, HW Kemper Museum of Contemporary Art; Kansas City, MO Maier Museum of Art; Lynchburg, VA Metropolitan Museum of Art; New York, NY Milwaukee Museum of Art; Milwaukee, WI Minneapolis Institute of Art; MN Muscarelle Museum of Art, College of William and Mary; Williamsburg, VA Museum of Fine Arts; Boston, MA Museum of Modern Art; New York, NY National Museum of American Art; Washington, DC Neuberger Museum, State University of New York at Purchase; NY New York Public Library, Spencer Collection...

Saul "Happy Face" 1998 Woodcut on paper edition 2/2 12"x9" white wood frame floating between glass 15.25"x12" Signed, dated lower right

Screenprint in colours, 1997, on White Lana mouldmade paper, signed and dated in pencil, 69th from edition of 75 (there were also 15 artist’s proofs), printed by Tyler Graphics, Ltd....

Fine piece of Florida abstract Landscape art. With a French Art Deco feel to it.

Safety Pin by American artist George Nama is from ” Tightrope ” a suite of ten lino-cuts published by Monument Press 1974. We see a stark image of a large safety pin with a wire binding it’s movement which changes the viewers concept of what they think they are perceiving. In this series of ten lino-cuts Nama takes ordinary household objects and makes them inoperable by wrapping a wire around the workable part of the object and presenting one object at a time. There seems to be a sense of humor and at the same time profundity with each image. All copies are individually signed and numbered by the artist. This is copy number 5/50 and is touched by hand with watercolor on Arches cover stock paper and printed by Monument Press in Pittsburgh, Pennsylvania. This print is in excellent condition with the first two letters of the title having been smudged by the artist when he hand wrote it in pencil on the lower left side of the print. George Allen Nama was born in Homestead near Pittsbugh, Pennsylvania in 1939. In the 1960’s he was part of an international artistic circle in Paris while working at the Atelier 17 with William Stanley Hayter...

"Trees in Ranchitos II" is a stunning 1975 color lithograph by renowned modernist artist Andrew Michael Dasburg (1887-1979). This collectible artwork, initialed in the lower right, captures the serene beauty of the New Mexico landscape, reflecting Dasburg’s signature blend of Post-Impressionism and Cubist influences. Presented in a custom frame measuring 30 ½ x 36 ¼ inches. Image size is 16 ½ x 23 ¼ inches. About the Artist: Born France, 1887 Died New Mexico, 1979 Born in Paris, France, Andrew Dasburg immigrated to New York City in 1892, where his talent was recognized early. He studied at the Art Students League of New York, training under Robert Henri, Kenyon Cox, and Birge Harrison. In 1908, Dasburg traveled to Paris, where he encountered the works of Henri Matisse and Paul Cézanne, igniting his lifelong passion for modernism. He later settled in Woodstock, NY, immersing himself in the avant-garde art scene alongside Morgan Russell...