Kazuo Shiraga Art

Tea for two – Tod by Harry Bunce [2017] limited_edition Screen Print Edition number 146 Image size: H:25 cm x W:31 cm Complete Size of Unframed Work: H:41 cm x W:49 cm x D:0.3cm Sol...

Jules Olitski Mozart Night, 1992 Silkscreen on wove paper Signed, dated, titled and numbered 71/108 in graphite pencil on the front Edition 71/108 47 × 36 inches Unframed Silkscreen ...

Tracey Emin I Love You/I Love Your Soul/I Love Your Smile, ca. 2010 100% Cotton Beach Towel 60 × 70 inches (folded it's 25 x 30 inches) Signed in plate, authorized printed...

"Superficie 324" is a 1988 screen print (serigraph) of a 1959 painting by Capogrossi. This is one of his famous "comb" or "fork" works that he perfected in the 1950s and continued to create for the remainder of his life. The blocks of primary red and yellow colors give a bright, joyful feel and contrast to the strong bold black that was Capogrossi's consistent color for the "combs". With no allegorical, psychological, or symbolic meanings, these structural elements could be assembled and connected in countless variations. Intricate and insistent, Capogrossi's signs determined the construction of the pictorial surface. This piece is identified along one side: Giuseppe Capogrossi By SIAE 1988 Silvio Zamorani Editor Via Saccarelli, 9 10144 Torino Italy Tel. (39)(11) 4730554 Progetto Grafico (Graphic Project): Studio Walter Benjamin. Serigrafia (Screen Print): BISI Torino. Capogrossi was born in Rome. After obtaining a degree in law in 1923–1924, he decided to study painting with Felice Carena at Accademia di Belle Arti di Roma. In 1927 Capogrossi embarked on a formative trip to Paris together with fellow artists and acquaintances Fausto Pirandello, Corrado Cagli and Emanuele Cavalli...

Beautiful Serigraph print on paper by the Cuban artist Manuel Mendive. El Reposo, 2021 Lithograph 23,5 x 29 in Ed. 10 of 100 Signed and numbered by the artist. Manuel Mendive is an ...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler Pencil signed AP, one of 25 proofs aside from the regular edition of 200 Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. This work has been newly framed in a museum quality wood frame under UV plexiglass. The original label from the famed John Berggruen Gallery in California has been affixed to the back to preserve provenance. Other examples of this coveted 1965 work can be found in major institutional and museum collections worldwide. Measurements: Framed 29 inches vertical by 24 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed In September, 2025, "Kerry James Marshall: The Histories" opened at the Royal Academy of Arts in London. This major exhibition was the largest presentation of Marshall's work in the United Kingdom and Europe, and featured more than 70 works by the the artist, including a large number of paintings and a selection of prints, drawings and sculptures. Highlights of the show include a new series of paintings that explore the transatlantic slave trade, along with Knowledge and Wonder, a mural commissioned in 1995 by the Chicago Public Library that is the largest painting Marshall has produced. The exhibition at the Royal Academy will then travel to the Kunsthaus Zurich and the Musee d'Art Modern in Paris. Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier, which is featured in the Royal Academy Exhibition. In 2013, an original painting, upon which this work is based, sold at Christie's auction. Below is the Christie's Lot Essay for that painting: ..." Set in a revolutionary apartment in the cosmos, Kerry James Marshall's Keeping the Culture optimistically anticipates a future that pays homage to the past. Ushering in a new stage of the artist's output, Keeping the Culture shifts focus from the failed utopia of urban renewal and the commemoration of civil rights era heroes in favor of a more technically refined meditation on the preservation of the traditional and spiritual values that shaped a culture. Placed in an ultramodern environment, two siblings marvel at a projection of the earth--in which Marshall has aptly positioned the African continent toward the viewer-while their affectionate parents dance in the foreground. Overlooking the milky way, Marshall's space-age flat is decorated with earthly relics-wooden tribal sculptures...

Namiko Prado Arai (Mexico, 1963) 'La regadera', 2003 silkscreen on paper Guarro Super Alpha 250g. 39.4 x 27.6 in. (100 x 70 cm.) Edition of 50 ID: PRA-301 Unframed

Fran López Bru (Spain, 1959) 'Untitled', N/A silkscreen on paper 29.9 x 21.8 in. (75.7 x 55.3 cm.) Edition of 75 Hand-signed by author Ref: LOP1189-001

DORR BOTHWELL ( 1902 - 2000) MALLORCA Serigraph, Signed, titled and numbered 8/25 in pencil. Signed and dated in the print. Image. 13 1/8 x 9 inches, sheet 19 7/8 x 12 3/4 inches. ...