Marino Marini

Colour Lithograph, Abstract #02, Marino Marini (1901-1980)

Artist: (after) Frank Stella (American, 1936-) Title: "Casino Knokke" Series: Casino Knokke Posters *Signed by Stella in black marker lower center Year: 1991 Medium: Original Offset-Lithograph, Exhibition Poster on glossy wove paper Limited edition: Unknown Printer: Unknown Publisher: Casino Knokke, Knokke, Belgium Sheet size: 24.5" x 16.63" Condition: Some minor handling creases. In excellent condition Very rare Notes: Provenance: private collection - Paris, France; acquired directly from the exhibition at Casino Knokke, Knokke, Belgium. Poster produced for a special exhibition of Stella's work at Casino Knokke, Knokke, Belgium from June 23 - September 1, 1991. The artwork featured on this poster is Stella's 1991, 133" x 87" x 75" stainless steel, bronze, copper, aluminum and carbon steel sculpture "Raft of the Medusa, Part IV". Comes with its rare 56 page softcover exhibition catalogue "Frank Stella: Casino Knokke" featuring 18 artworks. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Frank Stella (1936-) is an American artist best known for his use of geometric patterns and shapes in creating both paintings and sculptures. Arguably one of the most influential living American artists, Stella’s works utilize the formal properties of shape, color, and composition to explore non-literary narratives, as seen in his work Harrar II (1967) from the Protractor series. “Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes,” he explained. “It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity.” Born on May 12, 1936 in Malden, MA, Stella went on to study history at Princeton University before moving to New York in 1958. Having moved to the city, Stella was immersed in the heyday Abstract Expressionism, but it was the work of Jasper Johns that inspired Stella’s Black...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Susan Sheehan Gallery (Ellsworth Kelly Posters 1951-2001)" *Signed by Kelly in pencil lowe...

1-2-3 Outside reproduces James Rosenquist’s 1963 oil painting of the same name, collected in the Spencer Museum of Art, The University of Kansas, Lawrence. Rosenquist sourced the ima...

An expressive, moody abstract composition in tan and brown, with Mark Tobey’s soft, calligraphy-inspired mark-making reminiscent of earth, loam, or even flowing water. Mark Tobey, F...

One of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist and numbered 1/25 lower left in pencil. This print features small sketches of heads resting on forearms. Moore experimented with different angles, appearing to practice for the composition for Lullaby: Sleeping Head, which depicts a shadowy figure supporting the head of a sleeping woman. Lullaby: Sketches is a rare window into Moore’s process of composing an image. Delicate, single-line arms and hair reveal the sculptor’s equal talent as a draftsman. The imagery for Lullaby Sketches was inspired by Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Lullaby Sketches is one of a group of lithographs...

In 1983, Hodgkin was asked by Andy Warhol to contribute to the official art portfolio of the Olympic Winter games to be held in Sarajevo in 1984. He produced this striking print, wit...

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...

Sightseeing is one of a group of ten prints which the artist made at Petersburg Press in 1972, each based on one of his paintings. Rosenquist’s Sightseeing 1962 oil painting on canva...

This darkly-shaded portrait of two figures is one of a series of 18 lithographs drawn by the artist for the Auden Poems/Moore Lithographs 1974 book and portfolio. This work is from an edition of 25 printed on vellum aside from the portfolio (edition of 75) and the book. Signed by the artist lower right in pencil; numbered lower left in pencil. Printed in inky black, Thin-lipped Armourer features two figures subsumed in crosshatched shadow. The figure on the left can barely be seen, and the hollows of his eyes recall a skull. Numerous Moore prints from this series include two heads, perhaps relating to the first lines of Auden’s poem Lullaby. Lullaby was the first poem Moore read for this project, which begins: “Lay your sleeping head, my love / Human on my faithless arm; / Time and fevers burn away Individual beauty from / Thoughtful children, and the grave / Proves the child ephemeral: / But in my arms till break of day / Let the living creature lie, / Mortal, guilty, but to me / The entirely beautiful.” This print evinces Moore’s fascination with light and dark – what he called a “…bias towards the blackness and mysterious depths.” Moore was inspired by the prints of Rembrandt and the drawings of Seurat, and even drew on his memories of viewing the Altamira cave paintings, recalling how some of the images used the shadow of candlelight on the rough surface of the rock to model light. Shortly before starting work on this series of lithographs, Moore had fallen ill, leaving him aware of his own mortality. His mood pervaded these prints with a sense of danger and foreboding. The Auden/Moore limited edition book and portfolio were exhibited on publication at the British Museum, London, with an accompanying catalogue. Thin-lipped Armourer I is one of a group of lithographs...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this bright yellow, red, ...