Sentences with phrase «color print mounted»

Vibrant color print mounted frameless on masonite for exhibition June 17 - July 27.

Chromogenic color print mounted on plexiglas, 51 × 38 inches.

Chromogenic color print mounted on Plexiglas.

The second installation is a presentation of three large - scale silver - halide color prints mounted on aluminum, images from the film Cézanne: Conversation with Joachim Gasquet (1990).

Silver - halide color prints mounted on board - 20 shots.

Proposal One (Structures) 2016 20 chromogenic color prints mounted on Dibond (each photo 20 x 30 inches) Edition of 3

Not exact matches

I print the names, form a heavy line outline around the shape, and mount on different colored paper.

Julian Charrière Nutmeg - First Light, 2016 large format color photograph, double - exposed through radioactive material, archival pigment print on Hahnemüle Photo Rag, mounted on aluminum Dibond, Red Palmira veneered frame, Mirogard anti-reflective glass paper: 59 1/8 x 73 7/8 inches (150.2 x 187.7 cm) framed: 60 1/2 x 75 5/16 x 2 inches (153.7 x 191.3 x 5.1 cm) JCh - 237

Using archival pigment print and processing techniques that isolate the aircraft in the image, Milstein focuses on color and design to achieve maximum clarity in his images, which the Smithsonian National Air and Space Museum mounted in a solo exhibition entitled AirCraft: The Jet as Art in 2011.

Frankenthaler has worked with Pace Prints to create four Ukiyo - e plus woodcuts, including «Geisha» (2003), a twenty - three color Ukiyo - e woodcut printed from 15 woodblocks on Torinoko paper and mounted onto Fabriano Classico, as well as «Book of Clouds,» a large - scale print using a combination of aquatint, woodcut and pochoir techniques.

2008 Text / Messages: Books by Artists - Walker Art Center, Minneapolis, MN Inspired by Literature: Art and Fine Books - Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ PEGGY GUGGENHEIM E LA NUOVA PITTURA AMERICANA - Peggy Guggenheim Collection, Venice Collector's Eye - Gana Art Gallery, Seoul Blake to Kahlo to Warhol: Masterworks from the Harry Ransom Center - El Paso Museum of Art (EPMA), El Paso, TX 1945 - 1949 Repartir à zéro, comme si la peinture n'avait jamais existé - Musée des Beaux - Arts de Lyon, Lyon Action / Abstraction - Saint Louis Art Museum, Saint Louis, MO Contemporary Masters: Print Selections - Amy Simon Fine Art, Westport, CT REFLECTIONS ON LIGHT - 30 years Galerie Bernd - Galerie Klüser, Munich Tilted Balance - Collectors Contemporary, Singapore From Abstract Expressionism to Pop Art: Johns, Rauschenberg and the Aesthetic of Indifference — Sonoma Valley Museum of Art, Sonoma Nuances of Printmaking - Koehnline Museum of Art, Des Plaines (IL) The sight of music - Mississippi Museum of Art MMA, Jackson, MS Abstraction: Summer 2008 - Thomas McCormick Gallery, Chicago, IL Philadelphia Collects: Works on Paper - Delaware Center for Contemporary Arts - DCCA, Wilmington, DE Ganz schön ART - ig - LECKERBISSEN III - Fischerplatz Galerie, Ulm Paper Trail II: Passing Through Clouds - The Rose Art Museum, Waltham, MA Modern and Contemporary Prints - Osborne Samuel, London, United Kingdom Action / Abstraction: Pollock, de Kooning, and American Art, 1940 - 1976 - The Jewish Museum of New York, New York City, NY Blood on Paper - the Art of the Book - Victoria & Albert Museum - V&A, London, United Kingdom Die Hände der Kunst - MARTa Herford, Herford Side By Side Docents» Choice: Works On Paper - Mount Holyoke College Art Museum, South Hadley, MA Color as Field - American Painting, 1950 — 1975 - Smithsonian American Art Museum, Washington, DC Far Out!

Thin, horizontal lines of color are printed on paper, mounted on aluminum honeycomb, pieced together, and covered with Perspex to...

The major lot by Sherman in the auction is Lot 47, «Untitled # 225,» a color coupler print mounted on foamcore, 48 by 33 inches, that depicts Sherman as a demure, not particularly beautiful, Botticelliesque woman bearing a breast spurting milk.»

Tugendhat House from the L.M.V.D.R., Ludwig Mies van der Rohe Series Color c - print mounted on aluminum - dibond 23 x 27 1/2 inches 14 x 21 1/2 inches (image size) Edition of 40 Signed in pen and numbered in pencil by Thomas Ruff on a Label attached to the verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, DAP, Cologne, 2001, p. 242, another impression reproduced in cColor c - print mounted on aluminum - dibond 23 x 27 1/2 inches 14 x 21 1/2 inches (image size) Edition of 40 Signed in pen and numbered in pencil by Thomas Ruff on a Label attached to the verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, DAP, Cologne, 2001, p. 242, another impression reproduced in colorcolor.

The intensity of color and depth are achieved by scraping acrylic paint on the ink - side of an inkjet print on clear plastic film which is then mounted to a sheet of colored Plexiglass.

HELEN FRANKENTHALER Reflections II, IV, and VIII three lithographs in colors, 1995, on Lana mould - made, all signed and dated in pencil, two annotated «P.P. I» and one numbered 15/30 (the editions were 30 plus 10 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, with full margins, Reflections II with a small handling crease in the lower margin, two with a few spots of stray printing ink in the margins, otherwise all in very good condition, framed various sizes (3)

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

HELEN FRANKENTHALER Reflections I - II; and IV three lithographs in colors, 1995, on Lana mould - made, all signed and dated in pencil, two numbered 6/30 and one numbered 2/30 respectively (there were also 10 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, all with full margins, Reflections II with a few unobtrusive small spots of stray printing ink in the margins, otherwise all apparently in excellent condition, one shrinkwrapped, one unframed and one framed two S. 26 3/4 x 20 in.

Some of the most captivating works use photography as a point of departure: Vietnamese artist Dinh Q. Lê mounts color prints onto strips of linen that he then weaves into contrasting images of war and domesticity.

Los Angeles - based artist Walead Beshty also performed well this morning with a print of electrifying beams of colors mounted in a plexiglass box that went for $ 68,750 (est. $ 35,00 - $ 45,000) and a signature FedEx shipping box that sold for $ 75,000 (est. $ 60,000 - $ 80,000).

ANDREAS GURSKY (B. 1955) Rhein II signed «Andreas Gursky» (on a paper label affixed to the backing board) chromogenic color print face - mounted to Plexiglas image: 73 x 143 in.

Digital Color Print on Pearl photo paper, based on original Polaroid, not mounted, Edition 1/10, Signed on the back with Certificate, 2015 Whether in color and black and white, van DColor Print on Pearl photo paper, based on original Polaroid, not mounted, Edition 1/10, Signed on the back with Certificate, 2015 Whether in color and black and white, van Dcolor and black and white, van Dri...

1 / 29 — David Maljković, All Day All Year, 2016, inkjet on canvas painted with oil colors mounted on aluminum composite panel and inkjet print on archival paper mounted on archival carboard, 150 x 224 cm

Sara Cwynar, Color Bars (Darkroom Manual), 2013, Chromogenic print mounted on Plexiglas, 30 x 24 in.

Sara Cwynar, Color Column 1, 2014, Chromogenic print mounted on Plexiglas, 30 x 24 in.