Continental US - Prints and Multiples

This rare exhibition poster features László Moholy-Nagy's Konstruktion Z 1, part of the distinguished "Collection of European Masters" series published by Achenbach Editions for the ...

Over the past 20 years, Michelle Oppenheimer has become well known for composing paintings that capture the imaginative and organic possibilities of abstract watercolor and acrylic. ...

Medium: original etching. Executed by Tissot for the "Rene Mauperin" suite of etchings, published in Paris in 1884 by Charpentier in a limited edition of 550. This is a nice impressi...

This piece is from my private collection of 20th Century -21st Century artists, many of which are from the School of Paris era. Pelayo produced this lithograph in colors. The Latin American spirit...

ABOUT THIS PIECE: My artistic journey on Burano Island has been a captivating exploration of its vibrant character. While initially drawn to its clotheslines and colourful walls in search of inspiration for my next clothesline animal, I soon discovered that each whimsical house possessed its own unique personality. My work seeks to highlight and amplify these distinctive features, celebrating the island's charm beyond its iconic laundry, embracing the quirks and individuality of every little dwelling. ABOUT THIS ARTIST: Helga Stentzel...

The 2000 Roland Garros poster by Antoni Tàpies is a compelling fusion of sport and abstract art. Its textured, abstract composition and philosophi...

Etching and drypoint on heavy cream laid paper, 3 3/4 x 3 1/4 inches (96 x 83 mm), narrow margins. In very good condition with some minor surface soiling. [Björklund's second state ...

Still Life with Goldfish Bowl is a 1980 vintage blank greeting card, originally printed for the Guggenheim Museum. The card is framed in a white wood frame with a front profile of 1 ...

Kyohei Inukai Life Forces - 1978 Print - Silkscreen   30'' x 22½'' in Edition: signed in pencil and marked 128/200 Since the 1940s, Kyohei Inukai has created his own brand of illusi...

In October of 1991 Christo and his collaborator Jean-Claude constructed an installation in two valleys, in Japan, north of Tokyo and one in California, north of Los Angeles. 960 yell...

Joan Miró (Spain, 1893-1983) 'Sala Gaspar, Metras and Belarte Gallery (avant la lettre)', 1964 Lithograph on Paper (Cahiers d'Art magazine Nº4-5) Original lithograph without signing ...

Paper Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Image Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Framed: Yes Frame Size: H: 14 x W: 18 x D: .75 in. Condition: A: Mint Additiona...

Peter Max, German/American (1937 -) - Statue of Liberty, Year: circa 1986, Medium: Poster, Image Size: 30.5 x 15 inches, Frame Size: 44.25 x 28.25 inches

Paper Size: 13.25 x 17 inches ( 33.655 x 43.18 cm ) Image Size: 13.25 x 17 inches ( 33.655 x 43.18 cm ) Framed: Yes Frame Size: H: 14.25 x W: 18 x D: .75 in. Condition: A: Mint ...

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Scarce. Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY. Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...

This "Homage to the Square" print was created by Albers for the occasion of an exhibition at Grippi Gallery in Manhattan in 1973. It is in an excellent white contemporary frame. Art...

Original 1989 Louis Vuitton Automobile Classiques Poster –Hand Signed, Archival Linen-Backed. This poster was created for the Concours d’Elegance ...

ELIZABETH CATLETT Candace - 10th Anniversary Celebration 1992, A Tribute to African American Women National Coalition of 100 Black Women, Commemorative Fine Art Poster Year printed...

Paper Size: 21.75 x 34 inches ( 55.245 x 86.36 cm ) Image Size: 18 x 31.25 inches ( 45.72 x 79.375 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional ...

This high-quality reproduction of "The Seduction of Psyche" by William-Adolphe Bouguereau, published in 1999 by the Montreal Museum of Fine Arts, captures the delicate beauty and ref...

Medium: original lithograph. Printed on a thin japon-type paper and published in Milan by Groupe Espace for the very rare 1955-56 volume of Documenti d'Arte d'Oggi. Sheet size 12 1/2...

Paper Size: 45.75 x 61.75 inches ( 116.205 x 156.845 cm ) Image Size: 45.75 x 61.75 inches ( 116.205 x 156.845 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Pablo Picasso, After, Spanish (1881 - 1973) - La Ronde de la Jeunesse, Year: 1961, Medium: Lithograph on Arches, signed and dated in the plate, Image Size: 20 x 18 inches, Frame S...

Ossip Zadkine (French-Russian, 1890-1967), limited edition color lithograph on paper titled La Famille (The Family), depicting intertwined figures in a Cubist-inspired style. The pr...

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...

FRANCES H. GEARHART (1869 – 1958) SPRING MORNING – SEAL BEACH c. 1929 Color block print, signed in pencil. Image 8 ½” x 9 3/4”, sheet, 11 3/8 x 11 7/8”. Full margins as issued with...

Artist: Ernie Barnes Title: Destination Unknown Year: 1979 Print - Lithograph Size: 25" x 19 ½" inches Edition: Pencil signed and numbered 24/300 Unframed ‘Destination Unknow...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Vintage blank postcard published by VG Bild-Kunst, Bonn in 1992 for the Pop Art Show at Museum Ludwig Koln. Printed in Germany. Framed in a white wood frame with a front profile of 1...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

ABOUT THIS PIECE: My artistic journey on Burano Island has been a captivating exploration of its vibrant character. While initially drawn to its clotheslines and colourful walls in search of inspiration for my next clothesline animal, I soon discovered that each whimsical house possessed its own unique personality. My work seeks to highlight and amplify these distinctive features, celebrating the island's charm beyond its iconic laundry, embracing the quirks and individuality of every little dwelling. ABOUT THIS ARTIST: Helga Stentzel...

Medium: lithograph (after the painting). Printed in Paris on smooth wove paper at the atelier Mourlot and published in 1954. Size: 9 x 7 inches (228 x 178 mm). Not signed. Conditio...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate, embossed with the official Braniff Flying Colors Collection seal, and unnumbered, as issued. Good condition. Not...

JUMPIN & JIVIN' is an original hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the American artist James Denmark printed on archival Somerset pap...

Paper Size: 27.25 x 24 inches ( 69.215 x 60.96 cm ) Image Size: 19.75 x 19.75 inches ( 50.165 x 50.165 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or...

This is a poster titled Carolina Shout by Romare Bearden originally was created in 1967. Carolina Shout captures the vibrant energy and cultural significance of African American lif...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...

Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 12.25 x 17.75 inches ( 31.115 x 45.085 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “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 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...

This reproduction showcases an early rendering of the Chrysler Building in New York City, created by draftsman Andy Hickes. The image represents the building before its construction,...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

This screenprint was created by American artist David Roth. Roth's images are proportioned according to a strict mathematical formula - the pictures are composed according to horizon...

Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...

Roy De Forest Untitled (Dog), 1981 Color lithograph with deckled edges. Floated and framed. Pencil signed and numbered from the edition of 125 Frame Included: held in original vintage white frame Wonderful whimsical rare 1981 lithograph by the incredibly popular and beloved Roy de Forest, famous for his paintings and prints of dogs...

THE FAMILY is an original hand drawn, limited edition lithograph by the African American artist James Denmark, printed using hand lithography on Arches paper 100% acid free. Rich, vi...

Medium: original lithograph. Printed in 1972 on Rives wove paper at the atelier Clot, Bramsen et Georges and published by Philippe Lebaud in a limited edition of 190 for the "Variati...

JACOB LAWRENCE THE BUILDERS 1985 Commemorative Poster - National Urban League 75th Anniversary 1910-1985 Vintage original 1985 printing Poster size - 35.25 x 22 inches, unframed, u...

Medium: original lithograph. Published in Paris in 1904 by Revue de l'art ancien et moderne. This impression was printed on china paper, and mounted along the top edge by the publish...

This lithograph page by René Bazaine from Derrière le Miroir No. 170 features abstract forms inspired by natural elements like water and foliage. The artwork's rich colors and harmon...

Otto Kuhler, 'The Gateway to the New World', etching (artist's proof), edition 16, 1926, Kennedy 25. Signed in pencil and annotated 'Japan Silk Paper - Trial Proof - Ltd. Ed. Del. et...

Medium: original lithograph. This lithograph is from the rare 1957 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1957 Spr...

large scale photograph capturing the soothing tones of nature's calming blue hour color palette Seascape I by Frank Schott 48 x 64 inches / 122cm x 162cm signed edition of 7 30 x 40 inches / 76cm x 102cm signed edition of 25 archival fine art pigment print signed & numbered by artist on certificate label ------------------------- Frank Schott grew up in Germany and attended the prestigious Academy of Arts in Cologne, studying under Professor Arno Jansen, who was an early influence. Moving to California in 1998, Schott's work has evolved to include the epic landscapes and deserts of the American West as well as architectural, conceptual and more formal environments from both home and his travels. Influenced by a number of photographic peers and precursors such as Candida Höfer, Andreas Gursky, Thomas Struth, Jeff Wall, Hiroshi Sugimoto, William Eggleston and Joel Sternfeld, Schott's images successfully blend technical, conceptual and formal rigor with a decisive sense of composition and color. Schott's images have an iconic sensibility and give us a bird's eye view onto humanity and its constructs. The specific is edged towards the abstract, often revealing the compelling and disjunctive moment where nature meets man. Frank Schott was born in Cologne, Germany in 1962. He currently lives and works in San Francisco. _________________________ Edition EKTAlux publishes an evolving curated selection of collectable large-scale photography in strictly limited editions, working closely with each artist to guarantee state-of-the-art museum level print and framing quality. Custom / larger print sizes available on request Images can be printed with white border ( 2in L prints / 4in XL prints )

Richard Mock, American (1944 - 2006) - Childhood in America, Year: 1999, Medium: Linocut on BFK Rives, signed, titled, numbered and dated in pencil, Edition: 80, Image Size: 17 x...

Medium: original linoleum cut. This linocut by Italian Futurist Gino Severini was printed in 1939 for the art revue XXe Siecle and published in Paris by San Lazzaro. Size: 12 1/2 x 9...

After Giovanni Antonio Canal, called Canaletto Copper plate engraving with hand coloring on cream laid paper with the Arms of France watermark (a crown in shield topped by a fleur-de-lys and the letters GR), 22 3/4 x 15 3/4 inches (576 x 400 mm), wide to full margins. Multiple vertical and horizontal creases from folding and rolling; none appear to be particularly hard, there is however some associated cockeling. While there is some minor mat tone visible around the perimeter of the sheet, the extensive handcoloring remains extremely fresh and saturated in the intended areas. There are edge tears at each the right and left sheet edge (outside of the image area) due to an improper effort to mount the sheet to a mat. Otherwise in very good condition with all issues being consistent with age. The print is wrongly titled "The South East Prospect of Westminster Bridge...

Medium: lithograph (after the poster). Printed in 1897 on smooth wove paper and published in Paris by Librairie Nilsson. Sheet size: 12 1/4 x 9 inches (310 x 230 mm). Signed in the p...

This large offset lithograph poster, featuring Leaves by Marsden Hartley, was created for the Louisiana Museum of Art, showcasing the artist’s bold approach to form, color, and moder...

Alexander Calder (American, 1898-1976) Fiesta, c. 1973 Lithograph in colors Signed lower right Edition: E. A. 20 x 28 inches 35.5 x 37.75 inches, framed One of America's best known ...

This is an authentic and official poster, not a third-party unauthorized version. Designed for a Roy Lichtenstein retrospective in Brussels, Belgium, in 1994-1995, it includes art re...

This is a rare and iconic poster from the first printing created by the legendary Andy Warhol for a special exhibition held in Sweden in 1983. Designed as a tribute to the legendary ...