1990s Prints and Multiples

The nude in this serigraph (unknown number of multiples) has both an air of sensuality and sacredness. In part, this is because the artist was influenced by Da Vinci's ideas of the h...

Abstract Composition is an original lithograph and offset realized by Leo Guida in 1992. Good condition. Leo Guida (1992 - 2017). Sensitive to current issues, artistic movements a...

"Thirst (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The print...

"Drawn from the Heart" by Bev Doolittle Set of Three Signed Limited Edition Original Etching on Paper

"When the Word is LOVE (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints in the portf...

"From the Umbrage of a Master Poet (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints ...

Artist: Robert Indiana, American (1928 - ) Title: One from the American Dream Portfolio Year: 1997 Medium: Serigraph, signed and numbered in pencil Edition: 395 Image Size: 14 x 14 i...

Rippling, limited edition lithograph, Japanese, black, white, red, signed,number

Signed and numbered from the edition of 60. Image of a cowboy with an oversized hat. Throughout his 40 year career as an artist, Frank Romero has bee...

"Quiet, The Dove (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints in the portfolio w...

Country Town is an original colored screen print realized by Ivan Rabuzin in the 1990s. Hand-signed on the lower margin. Numbered on the lower left.143/150. This very fine print re...

"To Draw a Straight Line (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints in the por...

Signed and numbered from the edition of 90. While grand architecture and imaginary places feature in the artist’s fantastical prints, his more intimate interior scenes like Intéri...

"Clint Eastwood 'Hollywood Superstar'" original etching by artist Al Hirschfeld. Caricature portrait of a young Clint Eastwood in "Rawhide." Hand pulled in an edition of 160 plus 30 ...

Paper Size: 23.5 x 17.75 inches ( 59.69 x 45.085 cm ) Image Size: 19 x 14.75 inches ( 48.26 x 37.465 cm ) Framed: No Condition: A: Mint Additional Details: La Grande Tete de Ka...

"The Word (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The pri...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

"Tiger Music (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints in the portfolio were ...

"Pelvic and Bright (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200...

NO PLACE LIKE HOME is a hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the African American artist Louis Delsarte ...

Paper Size: 23.5 x 24 inches ( 59.69 x 60.96 cm ) Image Size: 19 x 19 inches ( 48.26 x 48.26 cm ) Framed: No Condition: A: Mint Additional Details: Part of the "For the Love of...

Created in 1990, this original color serigraph is hand signed by Victor Vasarely (Pécs, 1906 - Paris, 1997) in pencil in the lower right margin. Numbered 270/300, this piece was prin...

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird...

Edition of 30 circus ballerina

"Elvis" original etching by artist Al Hirschfeld. Caricature portrait of Elvis Presley. Hand pulled in 1993 from an edition of 150 plus 30 artist's proofs. Hand numbered 14/150 in lo...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Hand signed and dated, and signed on plate. Artist's proof. Good conditions.

Chevaux de Selle et d'Attelage is an original seriograph, realized by Natale Addamiano in 1999. The status of preservation Good. Numbered. Edition, ...

WAITING IN THE WINGS is an original hand drawn lithograph by the photorealist American painter Douglas Hofmann printed using hand lithography techniques on archival Arches paper, 100...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Paper Size: 32.5 x 21.5 inches ( 82.55 x 54.61 cm ) Image Size: 32.5 x 21.5 inches ( 82.55 x 54.61 cm ) Framed: No Condition: A: Mint Additional Details: Published by Graphique...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel. Date: 1991 Medium: Screenprint, numbered in pencil lower left, estate stamped verso Edition: 250 Image Size...

Peano's Curves is an original print realized by Bruno Munari in 1993. Mixed colored lithograph. Hand-signed and numbered in pencil on the lower margin. Edition VII/XXX. Printed by...

Landscape is an original watercolour on paper realized by Alfonso Avanessian in the 1990s. The piece is hand signed lower right. Good condition.

Artist: Ben Schonzeit, American (1942 - ) Title: Roses with Dutch Landscape Year: 1990 Medium: Lithograph, signed, dated, and numbered in pencil Edition: 66/72 Paper Size: 43 x 48 ...

Hand Signed. Edition of 90 copies. Original paper wallet and CD included.

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Artist Reproduction plate. Edition 1401A Reihe "Gustav Klimt – Phantastische Meisterwerke" mit einem diagonalen Durchmesser von 22 cm und einer Goldumrandung an. Es handelt sich dabei um die Ausgabe "...." aus dem Jahr 1990, Teller-Nr. ?, die als Reproduktion im Auftrag des Hauses Lilien Porzellan...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel. Date: 1994 Medium: Screenprint, numbered in pencil, estate stamped in pen...

Bait, 1999 Paula Rego Etching with aquatint, on Somerset Velvet Signed and numbered from the edition of 75 From the deluxe edition of The Children's Crusa...

Original serigraph poster: Centre de L'Affiche Gruau, Toulouse, France. Artist: Rene Gruau (1910 - 2004). Size 15.5" x 26". Serigraph; acid free archival linen backed; excel...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel, estate stamped and numbered in pencil. Date: circa 1990 Medium: Screenp...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Precise rectangular and square lines and shapes in tints of yellow, green, turquoise and mauve, are an interpretation of the brilliant summer sun in this silkscreen print on paper by...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird and Mickey Mouse find themselves in pretty racy company this month in an exhibition of Todd Gray’s monumental photographs...

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Le seigneur de la savane. Created 1997, engraving. Publisher GKM. Unframed. Edition of 80 ex. Signed, dated and numbered. Free shipment worldwide. Corneille, one of the founders o...

Paper Size: 39.5 x 27.5 inches ( 100.33 x 69.85 cm ) Image Size: 31.75 x 24 inches ( 80.645 x 60.96 cm ) Framed: No Condition: A: Mint Additional Details: First edition Poster ...

"Self Portrait (Absolut Vodka" lithograph by Al Hirschfeld. Caricature portrait of the artist Al Hirschfeld. Artist's proof. Hand numbered AP I/XV in low...

Artist: Alexander Brodsky and Ilya Utkin, Russian (1955 - ) Title: House with Stag's Head from Brodsky and Utkin: Projects 1981 - 1990 Year: 1990 Medium: Etching on German Rag paper,...

Face Minerale (Diptych) by James Coignard, French (1925–2008) Date: 1991 Carborundum Etching, Signed and numbered in pencil Edition of HC 2/10 Image Size: 25.5 x 20 in. (64.77 x 50.8...

"Path" is an original color lithograph by Harold Altman. The artist signed the piece lower right, wrote the title of the piece in the lower center, and wrote the edition number (30/2...

1993 Screenprint in colors, on wove paper S. 12 2/5 x 15 2/5 in. (31.5 x 39 cm) Edition of 160 Signed, titled, dated and numbered in pencil, lower margin Unframed, excellent condition

A colorful geometric screenprint by American artist Barbara Lynch Zinkel, signed and numbered in pencil. Date: 1991 Medium: Screenprint, signed, numbered, dated and titled in pencil...

Mirage. 1990, a / p., zinc etching, 37x56.5 cm

Paper Size: 23.5 x 19.5 inches ( 59.69 x 49.53 cm ) Image Size: 21.25 x 18 inches ( 53.975 x 45.72 cm ) Framed: No Condition: A: Mint Additional Details: Not signed and not num...

Large-scale landscape lithograph of a soft, beautiful lakeside scene titled "Haven III", in a palette of yellows and blues, by an unknown artist (American, 20th Century). Numbered 50...