Stencil Prints and Multiples

Published in the deluxe art review, XXe Siecle in 1958. Printed by Daniel Jacomet. 1958 Unsigned Dimensions: 32 x 25 cm Publisher: G. di San Lazzaro. Catalogue raisonne: Dupin 13...

This work is captivating in every sense as it seeks to represent this cylindrical bottle from every angle against a two-dimensional space – as is the goal of most cubist works. It blends into a series of brown, yellow, and black tones that appear to be arranged in a chaotic geometry that continues to make perfect sense to his audience. This is a truly groundbreaking and magnificent still life work of art, whose large scale and grandeur makes this a quintessential Picasso for any art collection. This print was based off of the oil painting of the same name which is housed in the Metropolitan Museum of Art, New York), part of the Jacques and Natasha Gelman Collection. Picasso painted the original work in the French Pyrenees town of Céret during the summer of 1911, and is a perfect example of his most abstract phase of Cubism, his "high" Analytic Cubism period. Picasso included lettering in this work, one of the first examples of him doing so. The letters "LETR" possibly refer to "Le Torero," a popular bullfighting magazine at the time, of which Picasso was known to be a fan of. They could also refer to the French word for word, "lettre." Created in c. 1965, this original color lithograph is hand signed by Pablo Picasso (1881 – 1973) in pencil in the lower right margin, and H.C. 6/25 in pencil in the lower left margin, aside from the regular edition of 250. Published by Guy Spitzer, Paris after an original oil on canvas of the same title by Picasso created in 1911. Catalogue Raisonné & COA: Pablo Picasso Bottle...

A very good impression of this color screenprint with varnish and stencil. Artist's proof, aside from the edition of 125. Signed and inscribed "A.P." in pencil. Printed by Styria Stu...

Print, 1988 Edition : X/XX 49.50 cm. x 70.00 cm. 19.49 in. x 27.56 in. (paper) 33.00 cm. x 42.00 cm. 12.99 in. x 16.54 in. (image) Handsigned by the artist in pencil Ref : LCD2878

Richard Tuttle Metal Shoes 4, 2010 Aquatint, hand stencling, copper plate embossment 11 3/4 x 12 ed. 30 Framed

Frank Stella Nemrik, from the Near East Series, 1999 is a chaotically vibrant work that encapsulates Stella’s abstract style so poignantly. Using a mix of bright, neon colors, Stella...

From the Moby Dick Domes series. Aquatint, etching, engraving, relief, screen print and stencil with hand-coloring in acrylic on handmade, shaped TGL paper. Hand signed and dated l...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

Milivoj Uzelac (1897-1977) title Le Water Polo medium original Pochoir from Les Joies du Sport published by Maurice and Jacques Goddet 1932 paper size 16.50 x 12.13 image size 12 x 9 condition very good 'Le Water Polo' shows four figures swimming in a circle under water with balls in their outstretched arms and the water god Poseidon in the middle of the circle. The god is presented completely in blue. Le Water Polo is from Les Joies du Sport” a collection of 45 original pochoir illustrations by Milivoj Uzelac a Croatian artist ( 1897 – 1977) born in Mostar now Bosnia Hercegovina. Published in Paris as a limited edition of 750 for a book by Maurice and Jacque Goddet for the 1932 Olympics...

Jasper Johns M. D., 1974 Die-cut and stencil on paper Hand Signed and year lower left Numbered 66/100 Sheet size: 55.9 cm × 45.3 cm Frame size: Reference: ULAE 148

Lithograph, 1961 Handsigned by the artist in pencil Catalog : Vallier 171 Mourlot 78 32.00 cm. x 25.00 cm. 12.6 in. x 9.84 in. (paper) 28.00 cm. x 21.00 cm. 11.02 in. x 8.27 in. (...

Lithograph, 1960 Unsigned lithograph from the book "Drawings for the Bible" composed of 24 color lithographs Publisher : Verve (Paris) Printer : Mourlot (Paris) Catalog : Mourlot 243...