Sentences with phrase «color lithograph from»

Helen Frankenthaler (American, b. 1928) Card offset color lithograph from aluminum plates edition 85, publishers logo (lower left), signed in pencil «Helen Frankenthaler» (lower right) 10 x 12 inches.

Helen Frankenthaler (American, 1928 - 2011), «The Red Sea,» 1978 - 1982, color lithograph from four stones and four aluminum plates on pink wove handmade paper, pencil signed and dated lower right, edition 13/58, printed by Roger Campbell, Lee Funderburg, and Kenneth Tyler, published by Tyler Graphics, Ltd., image: 15.5 «h x 20.75 «w, sheet: 24 «h x 28 «w, overall (with frame): 29 «h x 37 «w

The exhibition features over 100 hand - colored lithographs from a private Long Island collection.

Not exact matches

Judy Chicago, Marie Antoinette, from the series «Great Ladies,» 2017, four - color lithograph on cotton paper.

Other noteworthy inclusions were Frédérique Loutz's exquisite artist's books made from a single folded sheet of paper; a giant display of lithographs dwelling on contemplation, traces and loss, from conceptual artist Marie - Ange Guilleminot's ensemble Nuancier (Color Chart); Mélanie Delattre - Vogt's fine lithographic drawings, based on culinary images from a 1970s freezer manual where disembodied hands cut up squid, duck, pig and bunches of rhubarb.

Mel Ramos Senorita Rio, 1964 (from One Cent Life) Lithograph in colors on thick wove paper 16 x 22.75 inches (40.64 x 57.79 cm) Edition of 2000 Unsigned Center fold - line as issued.

Pierre Bonnard, Rue Vue d'en Haut (1895 - 1899), from the set Quelques Aspects de la Vie de Paris, color lithograph on thin wove paper.

Lithograph, linocut, and screenprint in colors with hand - coloring and collage, on wove paper, 1984, signed and dated in pencil, from the numbered edition of 60 (there were also 10 ar...

This Suite of Twenty - Seven Color Lithographs, charged with remembered Provençal light, relies on an iconography derived from signage in a palette of primaries, offset by some of the most idiosyncratic tertiary colors of his career.

Frank Stella Tuftonboro (from Eccentric Polygons Series), 1974 Lithograph and silkscreen in color 17h x 22w in

Ellsworth Kelly's striking work in lithography from the mid-1960s, Suite of Twenty - Seven Color Lithographs and Suite of Plant Lithographs, are presented along with two monumental paintings from the Museum's collection.

Alexander Calder: An Outburst of Color will feature approximately 20 lithographs from the Museum's collection, many of which have never been exhibited to the general public.

The Hockney will be followed by three Alex Katz prints: two lithographs: Ann I (Est. $ 1,000 / $ 1,500) and Caroline ($ 700 / $ 1,000), as well as an unusual color spit bite and aquatint titled Beach Sandals, 1987 ($ 2,000 / $ 3,000) from an edition of 60.

Roger Shimomura (American, b. 1939) American Buddhahead, 2012 from the series American Knockoff color lithograph on white Arches cover paper 29 x 10 inches Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri Gift of the Lawrence Lithography Workshop in honor of the 20th Anniversary of the Kemper Museum of Contemporary Art, 2014.9 © Roger Shimomura, courtesy of the Lawrence Lithography Workshop.

Frank Stella Ahab, 1985 — 88, from the series The Waves screen print, lithograph, linocut with hand - coloring, marbeling, collage on T. H. Saunders wove paper 73 5/8 x 54 5/8 inches Gift of J. Peter and Barbara J. Gattermeir, 2002.32.1 © Frank Stella / Artists Rights Society (ARS), New York

Original lithograph printed in 6 colors (yellow, yellow - green, light blue, magenta, turquoise, dark blue) from 6 aluminum plates on BFK Rive wove paper Hand - signed in pencil lower righ...

The pairing of two palettes — black, white, and grey and an array of yellows — stems in part from Albers's 1964 series of lithographs, Midnight and Noon, which brought together these two opposing color sets in a single portfolio.

Suite of four abstract leaves lithographs by Josef Albers, from folder XXV - 1, interaction of color.

Abstract leaves color lithographs, by Joseph Albers from the «Interaction of Color» portfolio, folder XXV - 6, circa 1color lithographs, by Joseph Albers from the «Interaction of Color» portfolio, folder XXV - 6, circa 1Color» portfolio, folder XXV - 6, circa 1960s.

It's characterized by a stylistic evolution that leads from the black of his early charcoal drawings and lithographs to the explosion of color in his later pastels and oil paintings.

Robert Rauschenberg's large - scale color lithographs also take imagery and photos from everyday experience, but Rauschenberg combines the disparate imagery to reflect the commonplace of the world around us.

From left to right, they are: 1) Vittorio Fiorucci, (Canadian 1932 - 2008), color lithograph, circa 1960's...

4 - color lithograph on Rives BFK paper 21 1/2 x 17 inches Edition of 62 signed and dated in pencil, numbered from the edition of 62 Literature Edward Foster, Robert Rauschenberg: Prints 1948/1970, Minneapolis Institute of Arts, Catalogue Number 52.

offset lithograph and screenprint in colors on wove paper, numbered HC 27/37 (aside from the edition of 50)

Helen Frankenthaler Reflections IX (from Reflections Series) 1995 6 - color lithograph on Rives BFK paper # 22 of 30 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated lower right; edition lower left Sheet: 20» x 14.75»; Frame: 27.625» x 22.625» Together with copy of invoice from Tyler Graphics, Ltd. dated March 31, 1995 and print documentation

John Cage (1912 - 1992), 30 Drawings by Thoreau, 1974, color lithograph on paper, 30 x 20 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, funds from the Louis S. Booth Arts Fund, H2012.10.03 © John Cage Trust at Bard College

1957 Medium: One - color offset lithograph from photo plate, printed in blue Sheet size: 15 1/2 x 14 inches Edition size: Unknown Catalog raisonné: Axsom IIIb Printed for the Betty Parsons Gallery, New York, on the occasion of a one - man exhibition, 23 September - 12 October 1957.

1956 Medium: One - color offset lithograph from photo plate, printed in black Sheet size: 15 3/4 x 9 inches Edition size: Unknown Catalog raisonné: Axsom IIIa Printed for the Betty Parsons gallery on the occasion of Kelly «s first one - man show at the Betty Parsons Gallery, New York.

The pairing of two palettes — black, white and grey and an array of yellows — stems in part from Albers» 1964 series of lithographs, Midnight and Noon, which brought together these two opposing color sets in a single portfolio.

Working with the central idea of the constructed image of a rose with all its itinerant histories and meanings, etc. the works in this exhibition, which include Mark Dutcher's lovely albeit sorrowful rosebush made of colored wax and Sabina Ott's Mater Rosa I from a series of lithographs that depict the rose as a strangely regressive shape, mirroring the circle, in some way echo both the fragility and decadence of the rose as a central and narrative trope in our ever - shifting human history.

A lithograph from the same period, Blue and Orange consists of two shapes in the title's complementary colors facing off against one another with a tension that makes them appear almost animated.

And she follows Degas with one of only two works by women here — Bishop's is the other — Agnes Martin's untitled color offset lithograph of simple horizontals from 1998.

His own pair of lithographs plays an optical game, when hung together as they are here, that recalls the transitions from black and white to color in The Wizard of Oz.

The inaugural exhibition since Cahiers d'Art's relaunch presented early Kelly paintings, highlights from his collection of prehistoric birdstones, bannerstones and copper shields as well as a selection of the artist's recent color lithographs.

On display are 93 works from the 19th, 20th and 21st centuries, which includes drawings, etchings, lithographs, watercolors, pastels, acrylics, gouaches, linoleum cuts and color silkscreens.

Helen Frankenthaler Reflections VI, from Reflections 1995 Lithograph in colors, on Lana mould - made paper, the full sheet, S. 20 x 15 1/8 in.

Lot 198 Jasper Johns Flag (Moratorium) 1969 Offset color lithograph on wove paper # 77 of 300 Published by the Committee Against the War in Vietnam Edition lower left margin beneath image; signed lower right margin; printed «© Jasper Johns 1969 ″ lower right edge of sheet Image: 17.125 ″ x 26 ″; Sheet: 20.5 ″ x 28.5 ″; Frame: 21.125 ″ x 29.25»; (Image: 43 x 66 cm) Provenance: Leo Castelli Gallery, New York, New York; Private Collection, Beverly Hills, California (acquired directly from the above) Literature: The Prints of Jasper Johns 1960 - 1993: A Catalogue Raisonné.

Images (clockwise from top left): Dress (detail), c. 1845, American, Silk, Wadsworth Atheneum Museum of Art, Gift of Miss Elizabeth J. Ratmond, 1965.219 A, B; E.B. Kellogg and E.C. Kellogg, Wadsworth Atheneum, Hartford, Connecticut, 1845, Color lithograph, Wadsworth Atheneum Museum of Art, Gift of James Junius Goodwin, 1935.434; House of Coniglio (Beverley Coniglio, American, born 1972), Bee - Baby necklace, 2015, Designed by House of Coniglio, Found materials including watch, ceramic doll, rhinestones, and gold - filled chain, Collection of House of Coniglio; Dress with evening bodice (detail), c. 1850, American, Silk, Wadsworth Atheneum Museum of Art, Gift of the Estate of Matta Grimm Lacey, 1976.33 B, C

Faith Ringgold (American, b. 1930) Under a Blood Red Sky, color lithograph, 2000, signed, titled, dated, and numbered in pencil in the lower margin, no. 25 from the edition of 40, unframed.

Audubon, John James (1785 - 1851) The Jaguar, Female, plate CI, from The Viviparous Quadrupeds of North America, lithograph printed in colors and heightened with touches of gum arabic, by J.T. Bowen, More...