CLAYTON POND Abstract Prints

Barbara Kruger (1945, American) I Shop Therefore I Am, 1990 Medium: Photolithograph on paper shopping bag Edition size: 9000 Dimensions: 17 5/16 x 10 3/4 in (43.9 x 27.3 cm) Publishe...

Roy Lichtenstein The Oval Office (hand signed, dated and inscribed by Roy Lichtenstein), 1992 Offset color lithograph (hand signed and inscribed to famous estate attorney) Edition of...

Imi Knoebel (German, born 1940) Gelbe Fahne, 1999 Medium: Screenprint on rag paper Dimensions: 100 x 73 cm (39.25 x 28.75 in) Edition of 99: Hand-signed and numbered Condition: Mint

Victor Vasarely (Hungarian-French, 1906-1997) Kandahar I (from "Album I" by Galerie Denise René), 1955 Medium: Screenprint in colors, on paper Dimensions: 26 × 20 1/10 in (66 × 51 cm...

Günther Fruhtrunk (German, 1923-1982) Zwischen Grün (Between Green), 1970 Medium: Screenprint on card Dimensions: 62 x 83 cm Edition of 150: Hand-signed, numbered and dated in pencil...

A minimal geometric silkscreen of a traditional Japanese living room with cushions and a portable hand warmer by Yuiichiro Kato (Japanese, b- 1926). Displayed in a metal frame. Image...

"KVTNO7_01" Abstract Print 23" x 23" Edition of 50 by DOT Print. Signed and numbered by the artist. ABOUT THE ARTIST: By compiling concepts from multiple philosophies, DOT’s Art...

Richard Anuszkiewicz (American, 1930-2020) Red with Green, 1990 Silkscreen on paper Signed and dated lower right, numbered 8/20 lower left 13.75 x 14.25 inches 23.75 x 24 inches, framed Richard Anuszkiewicz was born in Erie, Pennsylvania to Polish immigrants. While at the Cleveland Institute of Art, he studied plein-air painting with Henry Hensche. After winning a Pulitzer Traveling Fellowship in 1953, Anuszkiewicz attended Yale University where he studied under Josef Albers. While at Yale he studied alongside fellow Cleveland Op artist Julian Stanczak. After receiving his M.F.A. at Yale, Anuszkiewicz went on to Kent State University where he graduated with a Bachelor of Science in Education. At just age 23, his work was exhibited at the May Show at the Cleveland Institute of Art. He was given his first solo show in March 1960 in New York. Because of his early success, Anuszkiewicz had the freedom to pursue his ideas creatively. Anuszkiewicz was one of the leading artists of the Op Art movement during the 1960s and 1970s. His style is distinctive for its high-intensity colors that he applies to geometric configurations. Many of Anuszkiewicz works are reminiscent of Josef Albers paintings...

One screen print on wove paper titled, Alice Tully Hall by Guillermo Kuitca, 2009. It is hand signed in pencil, dated and numbered from the edition of 117 (total edition includes 18 artist's proofs) The sheet size is 22 1/4 by 20 inches, with the blindstamp of the printer, Brand X Editions, New York. Published by Lincoln Center for the Performing Arts, Inc., New York. This impression has a rich, bold red color on bright white paper. Guillermo Kuitca, whose paintings and prints are often inspired by seating arrangements in theater interiors, recreates the seating chart...

Rupprecht Geiger (German, 1908 – 2009) Bluish Red and Blue-Black, 1961 Medium: Screenprint on cardboard Dimensions: 16.7 x 20.6 cm Framed dimensions: 31.4 x 27.5 x 2.9 cm Edition of ...

Hand signed and numbered edition of 25. 16 x 36" sheet size without frame. “Workshop” is an ambitious color lithograph and linocut with chine collé printed in twelve colors from nine plates and one linocut. It has been printed in an edition of 25, plus proofs, on white Rives BFK paper 16 x 36” with chine collé of various papers. (No, it’s not upside down) Born 1964 in New York where he still currently resides and works alongside his partner the ceramist Kathy Butterly. Son of the photographer Rudy Burckhardt and painter Yvonne Jacquette, Tom Burckhardt was 1986, BFA, State University of New York, Purchase, NY 1992–1993, Skowhegan School of Painting and Sculpture, ME 1996, Marie Walsh Sharpe Art Foundation Studio Grant 1997, New York Foundation for the Arts, Painting Grant 1997 Pollock-Krasner Foundation Grant 2002 George Hitchcock Award, National Academy of Arts 2003, Richard & Hinda Rosenthal Foundation Award, American Academy 2005, AICA Best Show of an Emerging or Underknown Artist 2005 Pollock-Krasner Foundation Grant 2006 Best Installation, Best of Houston, the Houston Press 2009 Guggenheim Foundation Grant 2010, New York Foundation for the Arts Drawing/Print Grant 2010 Joan Mitchell Foundation Grant Tom Burckhardt’s work is a carnival of images jumbled and jostling each other in precarious nonsensical compositions. He uses lushly colored and patterned images from all kinds of sources that bounce between abstraction and representation. Images come from tool catalogs, paper and fabric patterns, funhouse painting, architectural details, stripes, dots and squiggles. It is as if Burckhardt is a cartoonist merrily channeling Ellsworth Kelly, Paul Feeley, Robert Therrien, and Myron Stout, among others. Like Red Grooms, for whom he worked as an assistant, Burckhardt ransacks his influences yet ends up with something unmistakably his own. His work bears the influence of is a synthesis of many things: the tribal-influenced abstract painting of Steve Wheeler...

Very large scale black and white abstract interior scene with dots, lines, brushstrokes, paint daubs, fingerprints, squares and rectangles. Striking print to hang in contemporary, modern and minimalist spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is more painterly, expressionist, and abstract. Paper 45 x 55 in. / 114.3 x 139.7 cm. Souvenir by Howard Hodgkin. Screenprint on Arches aquarelle mould-made paper. Signed by the artist with initials and dated 80 in pencil lower center, numbered in pencil lower left. This bold Howard Hodgkin print layers five shades of black, with a wide variety of marks including some from the artist’s fingerprints and hand. Scribbles and lines of grey loosely define what could be an interior space with furniture. As is typical of his prints, there is a sense of space, and of the passage of time, expressed through shapes that seem to recede through the picture, deep black shades and, unusually for Hodgkin’s work, the white of the paper showing through. The last photograph displays these rich surface textures on the sheet at an angle. Catalogue reference: Elizabeth Knowles...