Xiu-ping Liao

Wisdom, Print by Xiu-ping Liao

1972

Artist: Robyn Denny, British (1930 - 2014) Title: The Paramount Suite (Orange) Year: 1969 Medium: Screenprint, signed and numbered in pencil Edition: 32/75 Size: 26 x 34 inches

A silkscreen print after a 1952 Henri Matisse "cut-out" collage entitled "L'Escargot". The signature and date are within the printing. Printed in the 1970's. Nicely framed in white.

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: Max Bill, Swiss (1908 - 1994) Portfolio: Combillation Year: 1970 Medium: Set of Four Silkscreens on Plastic Panel, each signed and numbered verso Edition: 210 Size of each ...

Gray, Tan, Red Landscape Joseph Grippi, American (1924–2001) Monotype Screenprint, signed in pencil lower right Edition of AP Image Size: 18 x 26 inches Size: 22 x 30 in. (55.88 x 76...

Landscape in Green, Purple and Yellow Joseph Grippi, American (1924–2001) Screenprint, signed in pencil Image Size: 19 x 31 inches Size: 21.5 x 33 in. (54.61 x 83.82 cm)

"Sacrifice Economy" Silkscreen 39" x 27.5" inch by Patricio Gonzalez Silkscreen Not framed From "Looking for Happiness" series LOOKING FOR HAPPI...

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...

A very good impression of this color screenprint. Signed and numbered 200/15 in pencil by Bearden. Catalogue reference: Gelburd/Rosenberg GG#59

"Indianapolis Museum of Art Inaugural Exhibitions", 25 October 1970, is an eye popping large bold colorful geometric abstract silk screen. It is signed on the lower right. Robert Indiana, one of the preeminent figures in American art since the 1960s, played a central role in the development of assemblage art, hard-edge painting, Pop art, Neo-Dada, American Modernism and Modern Art. A self-proclaimed “American painter of signs,” Indiana created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists such as Andy Warhol, Keith Haring, Roy Lectenstein, David Hockney, Romero Britto, Richard Hamilton and Robert Rauschenberg who make the written word a central element of their oeuvre. Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. At 14 he moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, where a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman had studios. Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words onto these sculptures as well as canvases, and became the basis of his new painterly vocabulary. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign...

Takesada Matsutani (Japanese, b. 1937) Propagation-L, 1971 Screenprint in colors Edition 51/75 28 x 27 inches 28.25 x 27.25 inches, framed Takesada Matsutani is a Japanese avant-ga...

Lucienne Bloch Untitled, from the Album International 2 Portfolio, 1977 Silkscreen on wove paper 11 1/2 × 11 inches Edition 1/50 Hand signed, number and dated on the front Unframed This is a rare Bloch silkscreen, signed and numbered in pencil from the limited edition of only 50. Superb provenance as it is was acquired from the original Album International Portfolio, number 1 of 50. Text from the Colophon page reads as follows: Swiss born, living in California. Limited signed edition of 50 serigraphs by Lucienne Bloch Lucienne Bloch was the daughter of famous European music composer...