Posts tagged prints

Tony Bernat, Albi Poster from 1952 a lithograph in colours, 1952, printed by Chabrillac, Toulouse.

Tony Bernat, Albi Poster from 1952 a lithograph in colours, 1952, printed by Chabrillac, Toulouse.

“Open this End, 1962, stands alone on the cusp of Andy Warhol’s transition from commentator to iconographer. 1962 brought a deluge of national attention for the artist, namely for his portrayal of Marilyn Monroe shortly aer her death. His work was premiering in two pivotal exhibitions: at the Ferus Gallery in Los Angeles and at Stable Gallery in New York City. But while many were enraptured with the image of the late star, it was the other works in Warhol’s oeuvre that most carefully outlined his Pop Project. Warhol was at the center of the most controversial moment in art history, and the present lot only fanned the flames further.” (G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, Phaidon, 2002, cat. no. 182, p. 157 (illustrated)) Pictured: Andy Warhol, Open This End, 1962, silkscreen ink on linen, 16 x 13 in. (40.6 x 33 cm.) Signed and dated “Andy Warhol 1962” on the reverse.

“Open this End, 1962, stands alone on the cusp of Andy Warhol’s transition from commentator to iconographer. 1962 brought a deluge of national attention for the artist, namely for his portrayal of Marilyn Monroe shortly aer her death. His work was premiering in two pivotal exhibitions: at the Ferus Gallery in Los Angeles and at Stable Gallery in New York City. But while many were enraptured with the image of the late star, it was the other works in Warhol’s oeuvre that most carefully outlined his Pop Project. Warhol was at the center of the most controversial moment in art history, and the present lot only fanned the flames further.” (G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, Phaidon, 2002, cat. no. 182, p. 157 (illustrated)) Pictured: Andy Warhol, Open This End, 1962, silkscreen ink on linen, 16 x 13 in. (40.6 x 33 cm.) Signed and dated “Andy Warhol 1962” on the reverse.

“It’s like the watches. The way they were presented in say, the magazines, looking like living things. That’s what I liked. They look like they had egos…” — Richard Prince, Untitled (Man’s hand with watch), 1980. Ektacolor Print

“It’s like the watches. The way they were presented in say, the magazines, looking like living things. That’s what I liked. They look like they had egos…” — Richard Prince, Untitled (Man’s hand with watch), 1980. Ektacolor Print

Liu Ren, Someday Somewhere 11, 2005 (Color Coupler Print)

Liu Ren, Someday Somewhere 11, 2005 (Color Coupler Print)

JOAN MIRÓ 1893-1983, L’ogre enjoué, 1969, Aquatint and etching in colors with carborundum, on Arches paper (without watermark), with full margins, signed and numbered 48/75 in pencil, published by Maeght, Paris

JOAN MIRÓ 1893-1983, L’ogre enjoué, 1969, Aquatint and etching in colors with carborundum, on Arches paper (without watermark), with full margins, signed and numbered 48/75 in pencil, published by Maeght, Paris

Banksy (b. 1975) Choose Your Weapon (Magenta), 2010, Screenprint in colours on wove paper, with full margines, signed in magenta felt tip pen and numbered 22/25 in black, ball point, published by Pictures on Walls, London, with the accompanying Certificate of Authenticity.

Banksy (b. 1975) Choose Your Weapon (Magenta), 2010, Screenprint in colours on wove paper, with full margines, signed in magenta felt tip pen and numbered 22/25 in black, ball point, published by Pictures on Walls, London, with the accompanying Certificate of Authenticity.

Allora & Calzadilla, Intermission (Halloween Iraq): Portrait VI, 2011 woodcut on muslin, 182.9×243.8cm (72×95in) This work is number one from an edition of three plus one artist’s proof

Allora & Calzadilla, Intermission (Halloween Iraq): Portrait VI, 2011 woodcut on muslin, 182.9×243.8cm (72×95in) This work is number one from an edition of three plus one artist’s proof

Allan D’Arcangelo - Bridge Barrier, 1969, Serigraph #53 of 120, Signed and dated lower right; edition lower left, Image: 25.5” x 22.25”; Frame: 30.25” x 24.25”, Screenprint probably part of Barrier series from the The Collection of Richard Dorso auction at Los Angeles Modern Auctions.

Allan D’Arcangelo - Bridge Barrier, 1969, Serigraph #53 of 120, Signed and dated lower right; edition lower left, Image: 25.5” x 22.25”; Frame: 30.25” x 24.25”, Screenprint probably part of Barrier series from the The Collection of Richard Dorso auction at Los Angeles Modern Auctions.

Is The Print Dead? Was Analog Photography Really About Print? Is Digital a Different Medium Altogether?

“And thinking about this made me reconsider what I think about photography and its transition from analog to digital.  Somewhere along the continuum we traded the idea that our work was destined for print (whether the fine art print, the magazine page, the poster, the package or the work print) for the idea that it was satisfactory for people to view our work on computer screens, telephone screens and as very low resolution projections.  We talk about losing the magic of film but perhaps what we are really saying is that we lost the magic of the print. But what the electronic displays have done is to make it implicitly “okay” to not follow thru and make the print.  And without the print as the final step photography is transformed from something that could always be objectively viewed and talked about into a medium that presents your work differently from house to house and computer to computer” Kirk Tuck Visual Science Lab

This painting is not available in your country. But prints are…Newness from Paul Mutant on Vimeo Here and Portfolio Site Here.

This painting is not available in your country. But prints are…Newness from Paul Mutant on Vimeo Here and Portfolio Site Here.

1940s Duke Surfing by Frank Oda - Hale Pua

1940s Duke Surfing by Frank Oda - Hale Pua

i-Jusi Comes To London - Garth Walker, the man behind experimental South African magazine i-jusi, has put together a limited edition box set of ten lithographs of art from the publication’s 16 year history. The prints will also form a pop-up show, coming to London in March…

i-Jusi Comes To London - Garth Walker, the man behind experimental South African magazine i-jusi, has put together a limited edition box set of ten lithographs of art from the publication’s 16 year history. The prints will also form a pop-up show, coming to London in March…

New Tomo prints and contest.

New Tomo prints and contest.

My favorite of the 6 Candykiller Letterpress Prints; the Blutto/Brutus-esque Bumtown Bruiser.

My favorite of the 6 Candykiller Letterpress Prints; the Blutto/Brutus-esque Bumtown Bruiser.

1949 Chevrolet Truck Brochure - Lithographed by General Motors of Canada, an explosion of color. Plan 59 can turn adverts into a large format print for your enjoyment, available in a variety of shapes, sizes using a variety of materials.

1949 Chevrolet Truck Brochure - Lithographed by General Motors of Canada, an explosion of color. Plan 59 can turn adverts into a large format print for your enjoyment, available in a variety of shapes, sizes using a variety of materials.