American Modern Abstract Prints

James Houston McConnell, 'Equus Uirumpu' (The Man's Horse), color serigraph, c. 1945, edition not stated but small. Signed and titled in pencil. Initialed in the image, lower right. ...

Harry Bertoia, Untitled (Abstraction), monotype, c. 1960, a unique impression. Signed 'HB' in pencil, lower right sheet corner, verso. Inscribed '1852' (the artist’s inventory number) in pencil, lower right sheet corner, recto. A superb, painterly impression, on cream wove Japan paper, the full sheet, in excellent condition. Unmatted, unframed. Sheet size 12 x 39 inches (30 x 99 cm). Provenance: Val Bertoia; Private Collection; Rago Auctions, Lambertville, NJ. Literature: 'Harry Bertoia: Monoprints,' Nancy N. Schiffer, Schiffer Publishing LTD, 2011; pg. 253. This work is included in the Harry Bertoia Foundation digital resource, Harry Bertoia Catalogue Raisonné, number TD.MO.1584. ABOUT THE ARTIST Harry Bertoia (1915-1978) was a visionary Italian-American artist, sculptor, and designer. Born in San Lorenzo, Italy, Bertoia immigrated to the United States with his family at age fifteen, settling in Detroit, Michigan. From an early age, Bertoia demonstrated a keen interest in art and design, studying painting and drawing at the Cass Technical High School in Detroit. Later, he attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he studied under renowned designers Eliel Saarinen and Charles Eames. At Cranbrook, Bertoia first began to explore the possibilities of working with metal, a medium that would come to define his artistic career. In the 1940s, Bertoia moved to California to work for Charles and Ray Eames, contributing to the development of innovative molded plywood furniture. However, his experimentation with metal wire sculpture would ultimately catapult him to international acclaim. Bertoia's iconic "Sonambient" sculptures, consisting of delicate metal rods arranged in various configurations, created ethereal sounds when touched or moved, transforming the act of sculpture into a multisensory experience. Bertoia's talent and innovation caught the attention of Florence Knoll, the founder of Knoll Associates, a leading furniture design company. In 1950, Bertoia began collaborating with Knoll, producing a series of iconic wire chairs that became emblematic of mid-century modern design. His "Diamond Chair," with its geometric form and airy construction, remains a classic of modern furniture design. Bertoia continued to explore sculpture as a means of artistic expression, experimenting with new forms and materials. His work was characterized by organicism and fluidity, with forms that evoked natural phenomena such as waves, leaves, and clouds. A decade before Harry Bertoia began creating three-dimensional sculpture, he dedicated his creative efforts to producing experimental prints at the Cranbrook Academy in Bloomfield Hills, Michigan, pursuing a passion that would continue for the rest of his life. With these spontaneous works, he worked intuitively, testing different tools and techniques to achieve his desired effects. Rather than using a traditional mechanical pressing process, he would apply ink to a glass or smooth Masonite plate with a sheet of paper laid directly on top. Then, tools such as brayers, dog hair brushes, styluses, and different parts of his hands were employed to draw or “press” the images on the back of the sheet. Rice paper was typically used due to its semi-translucent nature, offering Bertoia limited visibility of the effects of his experimentation, but ultimately, the unpredictable nature of the process was an integral aspect of the results, which never ceased to delight him. Each work was a singular composition with abstract imagery ranging from linear, structural compositions to fantastic surrealistic forms to poetic tonal landscapes. He received little input from other artists, developing his unique vision with rare purity and a deep personal resonance. From his first year of printmaking in 1940, Bertoia quickly amassed an extensive collection of unique works. The compositions were strongly tied to the non-objective movement, which, while popular in Europe, was still in its nascent stages in the US. There were few proponents of this new art form to be found in the 1940s, and it was Hilla Rebay, then Director of the Guggenheim Museum of Non-Objective Art, who gave Bertoia the encouragement and promotion he needed. In 1943, Bertoia sent approximately 100 monotypes to Rebay for review. After receiving the prints, she responded with a surprising offer to buy them all. Rebay then began including them in the museum’s exhibitions. The Guggenheim shows succeeded in putting Bertoia’s name out into the world. He began exhibiting his works regularly at the Neierndorf Gallery in New York and was provided a stipend to ensure a steady supply of prints until Karl Neierndorf died in 1947. By the 1950s...

"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...

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, '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...

This is a modernist view of a New York City park. It's interesting because we're given so much detail and yet it's drawing style also keep things hidden. Really I think it's about Cu...

Alexander CALDER (after) Smilling Moon, 1974 Lithograph poster Printed signature in the plate (Arte / Maeght workshop) On paper 77.5 x 56.2 cm (c. 30.3 x 22 in) INFORMATION : Made...

Robert Vale Faro, 'Going My Way?', lithograph, 1946, edition 14. Signed in pen, recto. Titled, numbered '#118 14/14' and dated '5/5/46' in pen, verso. A fine, richly-inked impression, on heavy, off-white wove paper, with full margins (1 5/8 to 2 15/16 inches), in excellent condition. Image size 13 1/8 x 7 3/8 inches; sheet size 17 x 12 3/8 inches. Scarce. Matted to museum standards, unframed. An impression of this work is in the permanent collection of the National Gallery of Art. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a 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...

Published edition, not trial proof Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...

Shepard FAIREY (Obey Giant) Flowering Eiffel Tower (A Delicate Balance) Original sceen print Handsigned in pencil blind stamp to lower margin Edition 51 from the edition of 89 On v...

Robert Vale Faro, 'Dialogue Erudite', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '98' and '4/16' in pen. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1/2 to 1 1/4 inch), in excellent condition. Image size 20 1/2 x 14 3/8 inches; sheet size 22 1/2 x 17 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a 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...

Katherine S. Dreier, 'Variation 5, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Paula Clendenin (American, b. 1949) Untitled, 1983 Lithograph Sight: 30 x 22 1/2 in. Framed: 44 3/4 x 34 3/4 in. Numbered, titled, dated and signed bottom: 1/15 / "The Things That Matter" / 83 Artist Paula Clendenin was born June 22, 1949, in Cedar Grove, Kanawha County. She has earned national acclaim for her paintings: richly colored, textured shapes that merge West Virginia’s mountain...

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...

Black & Moorhead 145. The title, Le Beche, is The Shovel in English. Signed and dated in pencil under image at right.

"Capricho" Original Impressionist Monotype In this eye-catching monotype, a performer stands on a stage, lit by a beam of light with one hand raised above her. The lifted hand and p...

Robert MOTHERWELL Tricolor with Dollar, 1973 Original lithograph (Printed in Mourlot workshop) Printed signature in the plate On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by ...

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/...

"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...

Paul Resika Untitled Signed lower right Etching on wove paper 10 1/2 x 6 inches Paul Resika (born 1928, New York, New York) is primarily recognized for his artwork featuring the di...

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...

Remington Strip Tease had a black iron dome covering the moving parts and suppressing noise. It is presented in a light that suggests a monument. It is f...

Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in a 16 x 20-inch archival mat. Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr...

The Cricket is a hand painted etching by American artist George Nama edition A. P. hand signed and titled in pencil by the artist. Believed to be from a collection of 9 etchings from the suite titled "The Origin of Language." This etching is raised at the six horizontal red lines and is touched by hand with watercolor in green, pink, white and red colors. It is in excellent condition. 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...

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...

Love Apple (Brown background). 1967. Linoleum cut printed in black, red, orange, brown and tan. 16 1/2 x 12 1/2 (sheet 21 3/4 x 15). Edition 18. A vivid impression printed on wove pa...

Orignial Skarby Sultana vintage poster. A.k.a.The Story of Little Much. Archival linen-backed Very good condition A. Bright and vibrant, lithograph, no stains, no damage, no...

This artwork titled "Bell Towr, Lecce" 1999, is an original archival pigment print by noted American photographer and artist Jenny Okun, b.1953. It is hand signed, dated and numbered 2/10 in pencil by the artist. The image size is 20 x 40 inches, the paper size is 26 x 46 inches, framed size is 28.25 x 48.25 inches. Custom framed in a metal silver frame, with white backing. It is in excellent condition, the frame have some very minor rubs, barely visible. About the artist: Jenny Okun is an American artist and filmmaker who travels the world in search of unusual beauty. Her artworks have been shown in more than sixty international exhibitions and in numerous private and public collections. Commissions have included the J. Paul Getty Museum, the Tate Modern, and the Whitney Museum of American Art. Craig Krull describes her artwork as “large-scale color photographic abstractions. Okun distills the essential qualities of form, texture, color, and detail into one layered vision.” Her earlier two books, Dreamscapes and Variations, show artworks of architecture, landscape, nudes, and art. SOLO EXHIBITIONS 2012 Craig Krull, Santa Monica, USA Museo Storico della Citta di Lecce (MUST), Lecce, Italy 2009 Treasure Island Music Festival in San Francisco, USA 2008 Art First, London, UK Building 98 : Grubb & Ellis, Marfa, Texas, USA Hennessey + Ingalls : Art and Architecture Bookstore, Santa Monica, USA 2007 Craig Krull "Studio Walls" and Book Signing, Santa Monica, USA The Colburn School, Los Angeles, USA 2006 Don Giovanni, El Portal Theatre, North Hollywood, USA the architectural photography of Jenny Okun on the sets by Yael Pardess, El Dorado Opera, Los Angeles, USA 2005 Craig Krull, Santa Monica, USA Art First, London, UK 2004...

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

This artwork titled "Genesis 5th Day" 1962 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

David Morris Four Colours Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: ...

David Morris Chamelleo Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: 924...

Boris Margo is one of the artists whose work is instantly identified with 'Mid-century American Modernism.' Usually abstract with a spiky surrealist edge, it speaks to extensive inno...

David Morris Feels So Good Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.:...

David Morris Feeling Tense Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.:...

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...

Carol Wax describes her circular images as "most often quasi abstract works that refer to ancient islamic designs using the shapes and attributes of animals, in this case the zebra. ...

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: ...

Luke Gilliam has an unusual woodcut technique that he pairs with a complex object of his own creation. He uses technique to create a technical tour-de-force with the intriguing title...

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 ...

Bernard Sanders (1906-1967) was a master of minimalist prints. In several I've posted the subject is really atmosphere and tension. This could be r...

Ornaments, 1953 Ferol K. Sibley Warthen (American, 1890-1986) Color Woodblock Print 7 x 4.75 inches 16 x 13.75 inches with frame Signed and Dated Lower Right Titled Lower Left Born 1890, Died 1986...

This artwork titled "Bilbao Guggenheim Silver" 1999, is an original archival pigment print by noted photographer and artist Jenny Okun, b.1953. It is hand ...

This artwork titled "Expandingr" 2001 is a original color lithograph on wove paper by American artist Betty Rees Heredia A.K.A Betty Snyder Shapiro,...

Martha Reed was the daughter of the artist Doel Reed and as an adult she joined her parents in Taos, New Mexico. There she designed clothes with a south-we...

Tommy's Pond Etching, aquatint and intaglio, 1966 Signed, dated and numbered in pencil Image/Plate size: 13 7/8 x 10 7/8 inches Sheet size: : 20 1/16 x 14 7/16 inches From: The Portf...

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...

"Fifty Years Later" - Linocut Print on Paper 1/10 A silhouetted image of a person's profile dropping their ballot into a voting box. The simple shapes, t...

Artist: Joseph Zirker (American, born 1924) Title: Untitled Year: 1988 Medium: Color monotype Paper: Arche 88 Size: 42 x 30 inches Signature: Signed and dated in pencil by the artist Printer: The artist Condition: Very good Frame: Unframed About the artist. Joseph Zirker is a noted American modern artist, educator, lecturer that was born on August 13, 1924 in Los Angeles, California, United States. As a young man he Served with United States Navy, from 1944 to 1946. He attended the University of California in Los Angeles 1946—1947. He got a bachelor of Fine Arts at the University of Denver in 1949 and a master of Fine Arts, University Southern California, 1951. He was a printer and research fellow at Tamarind Lithography Workshop in Los Angeles, 1961—1963. Lecturer University Southern California, 1963. Instructor Los Angeles County Art Institute, 1964, San Jose City College, California, 1966—1980. Lecturer Stanford University, 1981—1983, 1986—1990. All along his carer, he had numerous acclaimed shows in the U.S and abroad. He is known worldwide as an innovator in monotype and printmaking. His works are represented in private and public collections, both in the USA and worldwide, including: Grunwald Collection, U.C.L.A., Los Angeles, California, Brooklyn Museum, Brooklyn, New York Free Library of Philadelphia, Pennsylvania June Wayne, Tamarind Lithography Workshop, Los Angeles, California Tamarind Archives, Tamarind Lithography Workshop, Los Angeles, California, Charles White, Los Angeles, California Stanley Freeman Collection, Los Angeles County Museum, Los Angeles, California Ben Smith...

Portrait of Anger - Multilayer Woodblock in Ink on Paper Bold and saturated woodblock print of a screaming man by Michael Dow (American, 20th Century). The man is centered in this m...

This image is an extravaganza of modernist motifs. The monogram 'D.D.' is at the lower right.

This artwork titled "Illegal Graffiti #3" 1998is a original color screen print on wove paper by American artist Betty Rees Heredia A.K.A Betty Snyde...

This artwork titled "Genesis 6th Day" 1962 is a n original etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numbered 24...

This artwork titled "Genesis 7th Day" 1962 is a n original colors etching, with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and numb...

This artwork titled "Genesis 3th Day" 1962 is a n original colors etching , with embossing by noted American artist Dennis Ray Beall, b.1929. It is hand signed, titled, dated and num...

This artwork titled "Romanesque" 1991 is a color etching, with embossing and gold addition on handmade paper, with deckle edge, by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbered 20/50 and dated in pencil by the artist. The size is 38 x 27 inches. It is in excellent condition. About the artist. Bruce Weinberg (1942-1994) studied Interior Design at the Philadelphia College of Art and Architectural Space Planning at Temple University. During the 1970's he studied printmaking and drawing at San Francisco's Fort Mason Art Center. He created limited edition etchings as well as monoprints on his handmade paper. He was best known for multi-plate color hand pulled etchings of rugs and tapestries, which appear three dimensional with folds, fringes and turned up corners. Etchings were executed by use of traditional hard and soft ground etching technique. Employing multiple copper etching...

This artwork titled "Storm" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbered ...

The Adja Yunkers abstraction is a lithograph made in the first year of the iconic printmaking workshop Tamarind, founded by the great June Wayne (with Clinton Adams and Garo Antreasi...

This artwork titled "Palladio" 1991 is a color etching, with embossing and gold addition on handmade paper, with deckle edge, by noted artist Bruce Weinberg, 1942-1994 It is hand sig...

This artwork titled "Savared" 1991 is a color etching, with embossing and gold addition on handmade paper by noted artist Bruce Weinberg, 1942-1994 It is hand signed, titled, numbere...