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Published by Tyler Graphics, 1996
Seller: curtis paul books, inc., Northridge, CA, U.S.A.
Softcover. Condition: Near Fine. Pictorial portfolio containing notes and 12 loose plates. Hint of rubbing to portfolio covers. ; quarto.
Published by Tyler Graphics, 1996
Seller: Moe's Books, Berkeley, CA, U.S.A.
Manuscript / Paper Collectible
Softcover. Condition: Very good. No jacket. Press/Project kit for the exhibition. Includes notes and 12 loose plates of the paintings. In a decorative portfolio.
Published by Tyler Graphics, 1995
Seller: curtis paul books, inc., Northridge, CA, U.S.A.
Softcover. Condition: Near Fine. Original stapled softcover. Hint of spotting to the covers. ; quarto; 38 pages.
Lithograph, screenprint, etching and aquatint printed in colours, with relief, 1998, signed in pencil, dated, numbered from the edition of 51 (there were also twelve artist's proofs), with the publisher's blindstamp, Tyler Graphics, Ltd., Mount Kisco, on TGL handmade paper, 66.5 x 84 x 4 cm. Axsom 255.
Lithograph, screenprint, etching and aquatint printed in colours, with relief, 1998, signed in pencil, dated, numbered from the edition of 55 (there were also 14 artist's proofs), with the publisher's blindstamp, Tyler Graphics, Ltd., Mount Kisco, 54.6 x 55.2 cm. (21½ x 21¾ in.) Over a period of four years, Stella created a body of prints whose titles all came from 'The Dictionary of Imaginary Places' by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teaming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their sheet, seemingly trying to escape their frames. As he had done since the 'Swan Engravings', Stella employed his full palette of printmaking media in this series, to realise these compositions - including lithography, relief printing, etching, aquatint, engraving and screenprinting. The physicality of the works are as inventive and creative as the titles of the series itself. Appearing almost like a psychedelic spectrum, the imagery is deceptively random, in fact Stella constructs a composition that is tight and coherent, showing off his sophisticated design aesthetic and use of printing techniques. Axsom 252.
Lithograph, screenprint and etching printed in colours, with relief, 1998, on TGL handmade paper, signed and dated in pencil, numbered from the edition of 55 (there were also 14 artist's proofs), published by Tyler Graphics, Ltd., Mount Kisco, 55.9 x 53.7 cm. (22 x 21¼ in.) Over a period of four years, Stella created a body of prints whose titles all came from 'The Dictionary of Imaginary Places' by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teaming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their sheet, seemingly trying to escape their frames. As he had done since the 'Swan Engravings', Stella employed his full palette of printmaking media in this series, to realise these compositions - including lithography, relief printing, etching, aquatint, engraving and screenprinting. The physicality of the works are as inventive and creative as the titles of the series itself. Appearing almost like a psychedelic spectrum, the imagery is deceptively random, in fact Stella constructs a composition that is tight and coherent, showing off his sophisticated design aesthetic and use of printing techniques. Axsom 254.
Relief, screenprint, etching, aquatint, lithograph and engraving in colours, 1995, on TGL handmade paper, signed, dated and numbered from the edition of 50 in pencil (there were also 14 artist's proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York, with their blindstamp, 54.9 x 125 cm. (21½ x 49¼ in.) max23 Over a period of four years, Stella created a body of prints whose titles all came from The Dictionary of Imaginary Places by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teeming compositions of twisting, colliding and knotted forms. The shapes seem to spill out of their rectangular sheet, seemingly trying to escape their frames. As he had done since the Swan Engravings, Stella employed his full palette of printmaking media, to realise these compositions - including lithography, relief printing, etching, aquatint, engraving and screenprinting. Axsom 229.
Screenprint, aquatint, etching, relief, lithograph, engraving and mezzotint in colours, 1995, on white TGL handmade paper, signed and dated in pencil, numbered from the edition of 50 (there were also 16 artist's proofs), published by Tyler Graphics, Ltd., New York, 50.8 x 132.1 cm. (20 x 52 in.) Over a period of four years, Stella created a body of prints whose titles all came from 'The Dictionary of Imaginary Places' by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teeming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their rectangular sheet, seemingly trying to escape their frames. Stella employed his full palette of printmaking media to create these compositions - including lithography, relief printing, etching, aquatint, engraving and screenprinting. As with many of Stella's printed works, relief is a primary focus in the construction of 'Despairia' as this technique was the means in which his art could extend out of its pictorial space and into the viewers own. Axsom 231.