Contemporary Prints and Multiples

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Leopards. This one is hand signed and dated verso. Seasons explores the season...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: TV Gyroscope. This one is hand signed and dated verso. Seasons explores the se...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Fruits. This one is hand signed and dated verso. Seasons explores the seasons ...

THE INVITATION is an original limited edition color silkscreen/serigraph created by the Belgian born artist Jessica Rice (1941-2016). THE INVITATION is a modern abstract figurative composition featuring a couple portrait...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Children in water. This one is not hand signed although the rest in the portfolio wer...

Shadow of Camels is an etching realized by Tullio Diamanti in 1980.  Hand signed. In very good condition.

UNTITLED (INV# NP2230) Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books Ken Price (1935 - ...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Leaf. This one is hand signed and dated verso. Seasons explores the seasons of...

Artist: Dan May (American, 1955-) Title: "Nudes on Towels" *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprint on unbranded cream wove paper Limited edition: 104/150 Printer: the artist May himself, Oakland, CA Publisher: the artist May himself, Oakland, CA Sheet size: 31.75" x 29.63" Image size: 24.13" x 24.13" Condition: Light wear to lower right corner. In excellent condition. A fantastic image Notes: Titled and dated by May in pencil lower right. Biography: Dan May is an American painter and printmaker born on March 11, 1955 in San Francisco, CA. Raised in aesthetic surroundings heavily influenced by his architect father, May grew up learning to view all things with an eye for design, color, and shape. At age 5, he remembers his father cutting up a book of drawings by Henri Matisse and hanging them on the walls of their home. The French master Matisse as well as Richard Diebenkorn and David Hockney are his favorite art influences. He began his first attempts at painting at age 15, and later began to experiment with printmaking, teaching himself various techniques such as woodblock printing, etching, silkscreen printing, and monoprinting. Monoprinting soon became May's medium of choice due to its wide range of expression and spontaneity that he felt other techniques lacked. May - "With monoprinting, you can only work a piece for as a long as the paint stays wet, so the resulting print has a feeling of movement and immediacy. I also like how monoprinting allows the brush strokes to transfer a transparent light quality to the print. For me, this is a technique that bridges...

Artist: Hava Raucher Title: The Beach Group Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 300 Paper Size: 26 x 36 inches

Lithograph in colors on paper.. Hand signed Bennett / Benedetto (Tony Bennett's family name) and numbered. Image size 23.75 x 33.5 inches. Sheet size approx. 29 x 38 inches. Frame ...

Artist: Andrew Lord, British (1950 - ) Title: Teapot Year: 1987 Medium: Lithograph, Signed and numbered in pencil Edition: PP II Size: 44 in. x 30 in. (111.76 cm x 76.2 cm)

Artist: Denis Paul Noyer, French (1940 - ) Title: Ledoyen Yea: circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 133/180 Size: 35 in. x 25 in. (88.9 cm x 63.5 cm)...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Fish Bowl. This one is hand signed and dated verso. Seasons explores the seaso...

SALE ONE WEEK ONLY Antonio Lopez Saenz is a brilliant iconic creative artist from Mazatlan, Mexico. The aquatint “Pareja” (Partner) was created in...

In the 1970s, Bruno Bruni made a name for himself as a draftsman, lithographer, painter and sculptor in the international art world. In 1977, he won the International Senefeld Compet...

SEASONS (1981) This is for the single print listed here. (not the outside folder or title sheet) Title: Globe. This one is hand signed and dated verso. Seasons explores the seasons o...

SEVEN SISTERS ROAD is an original limited edition lithograph printed using hand lithography techniques on archival Arches printmaking paper, 100% acid free, by the Iowa born artist Jim Buckels. SEVEN SISTERS ROAD presents a finely detailed fantasy rural landscape scene depicting a lone country road running through rolling green hills, a moonlit sky, friendly sheep and classic contemporary farmhouse with precise architectural details including a gray turret roof, veranda, arched window, light sage green siding with crisp white and light brick red trim. Verdant shades of grass greens, blue and peach twilight sky, taupe gray, Indian red, rusty orange, olive, viridian green, brown, white, gray and black create a peaceful, bucolic setting. SEVEN SISTERS ROAD is a beautifully detailed picturesque Iowa country landscape very pleasing to look at and enjoy! Print size - 27." x 27" square image, no margins, impressive hand crafted original limited edition print, pencil signed by Jim Buckels Edition size - 300, plus proofs Year published - 1988 Printer - JK Fine Art Editions Co., NY JIM BUCKELS Artist statement- "On one level, I think of myself as a decorative artisan, or at best a scene painter. I don't mind this distinction, because many of my heroes never achieved much more. It's a modest but honorable aspiration. The artists who have influenced me are quite dissimilar and usually less prominent in the pantheon of art history: Canaletto, the Flemish scene painters, the Hudson River artists...

"Statue of Liberty" screen print and collage by Robert Rauschenberg from the "New York, New York" portfolio published by the New York Graphic Society. Signed Rauschenberg...

Publisher GKM. Unframed. Edition of 200 ex. Signed, dated and numbered. Free shipment worldwide. César Baldaccini (1921 – 1998) is one of the great sculptors of the twentieth...

Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books

Artist: Dan May (American, 1955-) Title: "Fish Dinner" *Signed and numbered by May in pencil lower left Year: 1988 Medium: Original Screenprint on unbrande...

Wizard of Oz by Robert Anderson, American (1945–2010) Date: 1980 Lithograph, signed and numbered in pencil Edition of 300 Size: 21 in. x 29 in. (53.34 cm x 7...

Artist: LeRoy Neiman, American (1921 - 2012) Title: Harlem Streets Year: 1982 Medium: Serigraph, signed in pencil Edition: PP Image Size: 24 x 41.5 inches Size: 30 x 48 in. (76.2 x 1...

ANDY WARHOL (1928-1987) Andy Warhol's 'Four Perrier Bottles' is a unique impression on strong Velin. The reverse is stamped with "The Estate of Andy Warhol" and the stamp of "Andy W...

Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83 Using 6.5 million square feet of floating pink fabric, Christo and Jeanne-Claude encircled eleven islands in Miami...

Artist: Thelma Appel, American (1940 - ) Title: Waloomsac Wood II Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 25, HC 10 Image Size: 18 x 29.5 inches ...

Artist: Nancy Genn Title: Oraibi #4 Year: 1980 Medium: Lithograph and Chine Colle, signed and numbered in pencil Edition: 6/20 Size: 25 x 30 in. (63.5 x 76.2 cm)

French Iris I Reducutve color woodcut, 1982 Unsigned Stamped verso “Imprimerie Arnera Archives/Non Signe” From: Tramp Picture series "The printer was Claude Jinchat at Imprimerie Arn...

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 ...

Artist: Judy Rifka, American (1945 - ) Title: Still Life Year: 1986 Medium: Woodcut, signed and numbered in pencil Edition: 13/46 Image: 29 x 21 inches Size: 37 x 28 in. (93.9...

American contemporary artist of Lebanese and Greek descent, Alice Asmar's art is often inspired by her love of nature, combined with a deep respect for native American culture, her work evolved into Southwestern themes of Indian Ceremonial Dance-Dramas, Indian portraits and landscapes.In 1991, Alice Asmar was chosen for prestigious Honorary Membership in the National League of American Pen Women. Only three such honors are given each year. This recognition reaches back to her childhood, Alice Asmar was considered a child prodigy, winning awards and recognition for her artwork before the age of 10. Her education from 1946 through 1959 included a BA magna cum laude, from Lewis and Clark College, Portland; an MFA from the University of Washington, Seattle; and a one-year fellowship to study at L'Ecole Nationale Superieure des Beaux-Arts, Paris, France. Born in Flint, Michigan of Lebanese and Greek descent. Her parents moved to Portland, Oregon when she was just a baby. The artwork of her early years was inspired by the splendors of nature, from the inscrutable pines and ancient sculptured rocks along the Oregon Coast to the mysterious ocean mists. She Graduated magna cum laude from Lewis and Clark College in Portland and Obtained her Master's of Fine Arts Degree at The University of Washington in Seattle. Soon after graduating she accepted a job as an engineering drafter at Boeing Aircraft in Seattle. Her Assignment was clearing top secret drawing for air-to-ground missile. Alice worked for Boeing for less than a year. They offered her an engineering scholarship but she decided to go back to the art she loved doing from she was a child. After studying and traveling throughout the Near East, France, Switzerland, Italy, Yugoslavia, Turkey, The Greek Islands, Greece and Lebanon, Asmar set up studios in California, New Mexico and Oregon. A master of many media, Asmar is distinguished for her many techniques which include paintings in Oil, casein and Acrylic, drawing in ink, pencil and pastel, collage, tapestry, books,American contemporary artist of Lebanese and Greek descent, Alice Asmar's art is often inspired by her love of nature, combined with a deep respect for native American culture, her work evolved into Southwestern themes of Indian Ceremonial Dance-Dramas, Indian portraits and landscapes. Prints including lithography, etching, Engraving on metal on plexiglas, portraits, murals and banners. Her hand engraving of innovative designs for dinner and household wares for Nambe Mills in Santa Fe is recognized internationally. Alice Asmar's works are in several hundred public and private collections in the United States and Europe, including the Smithsonian Institution, Franklin Mint, Portland Art Museum, Gene Autry Hotel in Palm Springs, Security Pacific International Bank of New York, The Public Art Museum of Gabrova, Bulgaria, kaiser-Permanente, and the Dr. Nicholas Townell collection in Angus, Scotland. Studied with Edward Melcarth & Archipenko, University of Washington, MFA. Work: National Museum of American History Smithsonian Institute, Washington. Los Angeles City-Scape at sunset (Mural), Commissioned by Dr. Walter jayasinghe, 66; Painting of doves, Bangs Manufacturing Co, Burbank Exhibitions: Seattle Art Museum. Museum of Science & Industry, Los Angeles. Circle Gallery Ltd, Houston, Abbot Hall Gallery, William Temple House, Portland Oregon. Nambe Mills, Santa Fe, New Mexico. Sr Eye Art Gallery, Long Beach. Descanso Gardens, La Canada Flintridge, California.Sun Cities Art Museum, Arizona. Audubon Art Exhibit, Portland Oregon.Walt Disney Art...

Flower and Pot Color mezzotint, 1983 Signed, numbered, and dated in pencil John Szoke Graphics blindstamp, lower right Edition: 150 (100/150) Image si...

Artist: Dan May (American, 1955-) Title: "Dog Dreams (Black)" *Signed and numbered by May in pencil lower left Year: 1985 Medium: Original Screenprint on unbranded white wove paper L...

Artist: Dagmar Mezricky (Czech, 1944-) Title: "Earth" *Signed, numbered, and dated by Mezricky in pencil lower right Year: 1989 Medium: Original Lithograph on Rives BFK paper Limite...

FRANK STELLA (1936-Present) Frank Stella's 'Shards I' is a 1982 screenprint and lithograph in colors on Arches paper. It is signed, dated and numbered to lower end ‘56/100 F. Stella...

Atom mit Lampen III is a contemporary artwork realized by the artist Fifo Stricker in 1985. Mixed colored aquatint and etching.  Hand signed and dated by the artist on the lower ri...

Insect I is a  contemporary artwork realized by the artist Fifo Stricker in 1981. Mixed colored aquatint and etching. Hand signed and dated by the artist on the lower right margin....

Measures 15 x 15 inches with mat Edition of 1000

Artist: Dan May (American, 1955-) Title: "Party Pig" *Signed by May in pencil lower left Year: 1989 Medium: Original Monoprint on unbranded white cotton rag laid paper Limited editio...

Christo and Jeanne-Claude Surrounded Islands, 1980 - 83, 2009 Medium: 7-part leporello, digital pigment print (Ditone) on 260 g Hahnemühle Baryta paper Dimensions: 32 x 175 cm (12½ x...

Holiday Greeting Card for Madame R. G. Michel & Family (Carriage Clock, Vase & Flowers) Etching & color aquatint, 1986 Signed in pencil lower right Printed on BFK Rives paper Annapi...

Judy Chicago (b. 1939) is a world-renowned American artist and preeminent figure of the Feminist Art movement of the 1970s. Throughout her career, Chicago has consistently challenge...

Aaron Fink (American, b. 1955) Etching on paper titled "Untitled (Colored Pipe)," Depicting an abstracted pipe with bright pink smoke floating from the bowl. Hand signed in pencil and dated 1987 along the lower right; numbered 25/50 along the lower left. Provenance: Distinguished corporate collection, Minnesota. Unframed; 22.5 X 30 inches Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers...

ROY DE FOREST Untitled, 1981 Lithograph on Arches paper with four deckled edges. 22 1/2 × 30 inches Hand signed and annotated Trial Proof, aside from the regular edition of 60 Unfra...

A Mahatma Gandhi-like person is seating over a chess game and the reflection is seen on the individual’s reading glasses. This color lithograph by Mexican artist Gustavo Montoya was ...

Six Heads Olympians is a vintage poster realized by the artist Henry Moore, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very good condition. Henry Spencer Mo...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Artist: Dan May (American, 1955-) Title: "Nude and Cat" *Signed and numbered by May in pencil lower left Year: 1987 Medium: Original Screenprint on unbranded w...

Hand signed & numbered by the artist. Sheet size: 23 x 21 inches. Image size: 18 x 18 inches. Edition of 300. Artwork is in excellent condition. Certificate of authenticity includ...

Artist: Dan May (American, 1955-) Title: "In Chair Reading" *Signed and numbered by May in pencil lower left Year: 1988 Medium: Original Screenprint on unbranded white wove paper Lim...

Artist: Thomas McKnight (American, 1941-) Title: "Maidstone" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white Somerset paper Limited edition: 143/175, (there were also 40 artist's proofs) Printer: Willco Fine Art, New York, NY Publisher: Chalk & Vermilion, New York, NY Sheet size: 21" x 23" Image size: 16.13" x 18.13" Condition: Never framed, has been professionally stored away in its original green silk boxed portfolio for decades. In mint condition Notes: Numbered by McKnight in pencil lower left. Comes from McKnight's 1987 "The Hamptons" portfolio of twelve screenprints. Artist's copyright stamp lower right on verso. Biography: Thomas McKnight (born 1941) is a U.S. artist. He was born in 1941 in Lawrence, Kansas. He attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. He spent his junior year in Paris. After a year of graduate work in art history at Columbia University, in 1964 McKnight found a job at Time Magazine where he would work for eight years, interrupted by a two-year stint in the U. S. Army in South Korea. In 1972 McKnight left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. In 1979 in Mykonos, McKnight met Renate, a vacationing Austrian student, and married the following year. Throughout the 1980s McKnight’s art, mainly limited edition serigraph prints, became increasingly popular. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton...

Mary, Mary Quite Contrary I, 1989 Paula Rego Etching with aquatint, on wove Signed and numbered from the edition of 50 From Nursery Rhymes Printed by Culford Press, London Co-publis...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books

This original exhibition poster for Cindy Sherman’s show in Japan features text in Japanese and a striking photographic composition. In the image, Sherman wears a light brown overcoat and a short blondish wig while crossing a street that, judging by the vintage cars, evokes the 1970s—most likely a California setting. She gazes to the right, as if checking for oncoming traffic in the opposite direction, creating a moment of suspense and quiet narrative tension. Set against a moody blue background, the contrast between the warm tones of her coat and the cool backdrop mimics a chiaroscuro effect, pushing her figure dramatically to the foreground. This compelling visual dynamic enhances the cinematic quality of Sherman’s work, reinforcing her signature exploration of identity, performance, and self-representation. A rare and evocative piece, this Japanese exhibition poster...

Artist: Dan May (American, 1955-) Title: "Reading in Space II" *Signed and numbered by May in pencil lower left Year: 1988 Medium: Original Screenprint on unbranded white wove paper ...

Mensch Und Kunstfigur is a linocut print realized by Albert Flocon in 1987. Good conditions. Belongs to the series " from the "Scénographies au Bahuhaus. Hommage à Oskar Schlemmer ...