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Josef Albers
"Pending", Original Abstract Screenprint, Titled, Signed, and Numbered in Pencil

1965

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  • "Indianapolis Museum of Art Inaugural Exhibitions", Color Silkscreen, Signed
    By Robert Indiana
    Located in Detroit, MI
    "Indianapolis Museum of Art Inaugural Exhibitions", 25 October 1970, is an eye popping large bold colorful geometric abstract silk screen. It is signed on the lower right. Robert Indiana, one of the preeminent figures in American art since the 1960s, played a central role in the development of assemblage art, hard-edge painting, Pop art, Neo-Dada, American Modernism and Modern Art. A self-proclaimed “American painter of signs,” Indiana created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists such as Andy Warhol, Keith Haring, Roy Lectenstein, David Hockney, Romero Britto, Richard Hamilton and Robert Rauschenberg who make the written word a central element of their oeuvre. Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. At 14 he moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, where a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman had studios. Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words onto these sculptures as well as canvases, and became the basis of his new painterly vocabulary. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign...
    Category

    1970s American Modern Abstract Prints

    Materials

    Paper, Ink, Screen

  • Giuseppe Capogrossi Iconic Comb Design "Superficie 324" Serigrafia
    Located in Detroit, MI
    "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...
    Category

    1950s Abstract Expressionist Abstract Prints

    Materials

    Screen

  • Victor Vasarely Screen Print Abstract, Geometric Squares Cubes Hexagon
    By Victor Vasarely
    Located in Detroit, MI
    Victor Vasarely born in 1906 was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op Art movement. Op Art is a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Victor Vasarely and Brigit Riley are its most famous exponents. In its visual balancing act of color and movement from a flat plane to developed continuous flow “Untitled” is a complex arrangement of squares and colors that visually expand and contract. It is one of Vasarely’s most successful Op Art abstract works. The piece is signed on the lower right and number 20/150 on the lower left. The print is behind glass and matted. Vasarely was born in Pecs and grew up in Slovakia and Budapest, where in 1925, he took up medical studies. Abandoning medicine he turned to traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sandor Bortnyik’s private art school widely recognized as Budapest's centre of Bauhaus studies. His studies concentrated on applied graphic art and typographical design. In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other. Vasarely utilized geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard...
    Category

    Mid-20th Century Op Art Abstract Prints

    Materials

    Paper, Screen

  • Douglas Semivan Print "Abstract in Gold and Black"
    By Douglas Semivan
    Located in Detroit, MI
    SALE ONE WEEK ONLY "Abstract in Gold and Black" is a well-balanced calm piece. The placement of the gold and white can be read as a distant landscape giving much imagined space to the heavier black area which contains a linear element and the color blue. Semivan is a Master Printmaker and sculptor. He often breaks his surfaces and extends beyond the perimeters in his sculptures. The particular placement of the black area in this piece suggests such a breakage beyond the edge where one imagines a continuation of the strokes or linear elements. This is an altogether extraordinary print. Born in Detroit, Michigan, Douglas Semivan...
    Category

    Late 20th Century American Modern Abstract Prints

    Materials

    Paper, Printer's Ink

  • Joyce T. Nagel Collagraph "Earthcore" Signed Dated Ltd Ed
    Located in Detroit, MI
    "Earthcore" is an abstract of a familiar image ... a view of earth sliced in half usually as an explanation of the many layers of spaceship earth. This print is more than its title. It is rich in its depth of color and texture. Upon close inspection there is much activity on the surface which continually adds to its visual complexity. The name given to this print process is “Collagraph” It is made by glueing different materials to cardboard and creating a kind of collage. During the inking process the ink will rub off surfaces that are smooth or higher and stay on surfaces that hold more ink, at edge and at lower points thus creating the image. To protect the plate through the printing process it’s sealed with one or more layers of shellac. A collagraph plate is quite sensitive and will be deformed by the pressure of the printing press. Joyce Tilley Nagel...
    Category

    1960s Abstract Expressionist Abstract Prints

    Materials

    Paper, Ink

  • Joyce T. Nagel Print "Vegetable Forms No. 9" "1st State" Signed Dated Ltd Ed
    Located in Detroit, MI
    "Vegetable Forms No. 9" "1st State" is a beautiful linear design woodcut of an artichoke. What is intellectually interesting is the fractal beauty of nature found in the artichoke. A fractal is a kind of pattern that we observe often in nature and in art. Whenever you observe a series of patterns repeating over and over again, at many different scales, and where any small part resembles the whole, that’s a fractal. The Artichoke is the perfect example in that the shape of the leaves repeat themselves and they are the same shape as the fruit itself. Fractals are exciting, not only for their mathematical or conceptual representation, but also for the fact that you can visualise the math—and it’s beautiful! This print is rendered in an intense green with a light blue color to delineate the intriguing linear element of the artichoke's leaves. Joyce Tilley Nagel...
    Category

    1970s Abstract Abstract Prints

    Materials

    Paper, Ink

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