Alfred Jensen Prints and Multiples

This is a Five colour screen print Including a metallic Silver layer. This print is then finished off by drawing over the print with multi-coloured paint including Gold, Yellow and G...

Gottfried Honegger Concrete Geometric Abstract Composition with Blue 3D-construction, Screenprint on Hahnemuhle Velvet 2015 Size: 20.9 × 21.1 on 24.2 × 23.8 inches Edition: E.A. of 5...

Edition of 150 104.1 x 71.7 cms (41 x 28 1/4 ins)

Anni Albers (1899-1994) ST, 1971 Medium: Screenprint on cardboard Dimensions: 83 × 62 cm (32 7/10 × 24 2/5 in) Edition: Not signed, not numbered outside the edition of 150. Condition...

Bill Schenck Waco Serigraph 7/58 1981 Hand signed, date and numbered by Schenck in pencil. 25.75 inches H. x 25 inches W. 'Waco' is classic early example...

From the artist's Sinjerli Variations series created in 1977, Frank Stella created this original print as a lithograph and screenprint in colors on Arches paper. Hand-signed in penci...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

"Elizabeth Stein Gallery A/P" is a color lithograph poster. This piece features an abstract and geometric design in yellow. Unsigned. 40" x 26" Born in Russia in 1907, Ilya Bolotowsky left his native country in his early childhood. The family was forced to emigrate as a result of his parent’s anti-Communist sentiments. They traveled first to Constantinople, then settled in New York City in 1923. Bolotowsky enrolled at the National Academy of Design in 1924. He tried out many styles in this period, ranging from the representational and classical to the abstract and expressionistic. In the early 1930s he became a designer of textiles. In 1932 Bolotowsky spent ten months in Europe. Although he was already familiar with prevailing modernist movements, the opportunity to study a wide range of these works and to meet some of the artists who had made them affected Bolotowsky profoundly. As a result of this trip, Bolotowsky began to synthesize aspects of Cubism with the abstract Surrealism of artists like Miro and Arp. These softer, floating forms gave way to a rectilinear geometry as he became more influenced by the Constructivists and Mondrian. Upon his return to the United States, Bolotowsky married his fellow painter Esphyr Slobodkina...

From the artist's Sinjerli Variations series created in 1977, this original print by Frank Stella was created as a lithograph and screenprint in colors on Arches paper. Hand-signed i...

Red Angel, intensely and seductively colored: swooning purples and reds, ecstatic lemon yellows, and black construction paper. Jostling shapes, geometric and biomorphic, lyrical and ...

Artist: Josef Albers Title: Homage to the Square Medium: Screenprint Date: 1977 Edition: 1500 Image Size: 8 1/4" x 8 1/4" Sheet Size: 9" x 9 1/2" Frame Size: 14 7/8" x 14 7/8" Signat...

This work is NOT to be confused with a separate poster edition, which is on different quality paper and bears a printed signature. This is the much-coveted HAND SIGNED and numbered edition. Josef Albers Large: Munich 1972 Olympic Games (Danilowitz 213), 1970 Color silkscreen on 250-gram Schöllers Hammer paper. Signed, dated and numbered 63/200 in graphite pencil on the front 40 inches (vertical) × 25 1/2 inches (horizontal) Catalogue Raisonne Reference: Danilowitz, 213 Unframed Pencil signed and numbered 63/200 - silkscreen from the Deluxe, hand signed edition on Schollers hammer paper (aside from the unsigned regular edition of 4000 on wove paper) Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, for Edition Olympia 72 By Josef Albers - famous color theorist and longtime influential head of the Yale University Art Department. It features Albers signature ‘cinetic window’, and is an impressive piece of art and sports history. This is one of only 200 hand signed, dated and numbered prints - (NOT to be confused with the open poster edition of the same image on different paper, which, unlike the present work, only bears the artist's printed signature.) The present work was created in 1970 for the 1972 Munich Olympics. In anticipation of hosting the 1972 summer Olympics, Germany sought to create a positive image for itself. As Arnold Schwarzenegger would write in his memoir "Holding the Olympic Games in Munich was meant to symbolize West Germany's transformation and reemergence in to the community of nations as a modern democratic power". The Munich Olympics were billed as "the happy games" - a term that would become tragically ironic. In spite of, or rather because of, the ruthless killing of Israeli athletes by terrorists during the Munich Olympics, prints like this Albers silkscreen have become a powerful symbol of the enduring power of art to bring cultures together and promote peace. This Josef Albers Olympic...