A few examples of appraisal values for
FRANK STELLA

• FRANK STELLA, THE WHALE WATCH
  FRANK STELLA, THE WHALE WATCH SCARF, 1994Property of a Private Collector silk crepe de chine scarf with rolled hems in a red box, signed and dated '94 by the artist and numbered on the label, with Tyler Graphics Limited certificate of authen
• 130+ Art Books. Mostly 20th
  130+ Art Books. Mostly 20th Century. DeKooning, Picasso, Andy Warhol, Paul Klee, Jasper Johns, Edward Hopper, Frida Kahlo, Mapplethorpe, Georgia O'Keeffe, Noguchi, Roy Lichtenstein, Mark Rothko, Helmut Newton, Anne Leibovitz, Jackson Pollock, Salvador Dali, Kandinsky, Louise Nevelson, Frank Stella, Fontana, Ellsworth Kelly, Claus Oldenburg. ETC. You got them all. --- US Packing and Shipping charge: In house shipping available. Will be calculated once destination known. However these are very heavy. WIll be expensive. Plus insurance at a rate of $1 per hundred.
• MODERN AND CONTEMPORARY ARTIST
  MODERN AND CONTEMPORARY ARTIST BOOKS, 15 Group of 15 Modern and Contemporary Artists Books, comprising: "Intimately Unrelated" Nolan, Isabel, signed, dated "22.6.12" and inscribed by Isabel Nolan, "Y. Z. Kami: Endless Prayers" published by Koeing Books, "Y.Z. Kami" published by Gagosian Gallery, "Unleashed: Contemporary Art from Turkey", Amirsadeghi, Hossein, "Clemens Briels" published by Press Art Edition, "Tony Smith: Achitect, Painter, Sculptor", Storr, Robert, "David Smith" published by Knoedler & Co, "Frank Stella" Rubin, William, "Frank Stella: 1970-1987", Rubin, William, "Balthus: Cats and Girls", Rewald, Sabine, "In Memory Of My Feelings" O'Hara, Frank, "Recent Works and Old Obsessions", Mimran, Patrick, "William T. Williams: Recent Paintings" published by Michael Rosenfeld Gallery, "Brice Marden", essays by Rimanelli, David, "Jaume Plensa: Human Landscape", published by Cheekwood Botanical Garden. Largest: 11.75" L x 10" W. Keywords: Reading, Library, Reference
• FRANK STELLA SIGNED DEMOCRATIC
  FRANK STELLA SIGNED DEMOCRATIC CONVENTION POSTER Frank Stella (American, b. 1936), Democratic National Convention Poster, 1980, signed in pencil, dated "80", and numbered "12/250". Image: 36" H x 24.50" W; frame: 41" H x 29.25" W. Provenance: From a Fifth Avenue Collection. Keywords: Politics, Madison Square Garden, Prints, Multiples, Color Theory, Political Art
• REFERENCE BOOKS ON MODERN
  REFERENCE BOOKS ON MODERN ARTISTS, 14 Fourteen reference books on modern artists, including: "Ellsworth Kelly at Ninety" published by the Matthew Marks Gallery, "Morris Lewis: The Museum of Modern Art New York" by John Elderfield, "Working Space: Frank Stella," "Cy Twombly: The Menil Collection," "Cy Twombly: A Retrospective" by Kirk Varnedoe, "The Art of Richard Diebenkorn" published by the Museum of Modern Art, "Richard Diebenkorn" by Gerald Nordland, "Mary Corse" by Kayne Griffin Corcoran, "Roy Lichtenstein: Mural with Blue Brushstroke" by Calvin Tomkins, "Ellsworth Kelly: Diagonal" by Joanna Burton, "Gerald Richter: 40 Years of Painting" published by the Museum of Modern Art, "Gerald Richter: October 18, 1977" published by the Museum of Modern Art, "That's the Way I See It" by David Hockney, edited by Nikos Stangos, and "China Diary" by David Hockney and Stephan Spender. 12" H x 10" W x 1" D. Keywords: Books, Library, Literature, Reading
• PRINT, FRANK STELLA Frank Stella
  PRINT, FRANK STELLA Frank Stella (American, b. 1936), "Sinjerli Variation I," 1977, lithograph in colors, pencil signed lower right, edition 92/100, gallery label (John Berggruen Gallery, San Francisco, CA) affixed verso, sheet: 32"h x 42"w, overall (with frame): 34"h x 44"w. Provenance: Purchased from John Berggruen Gallery (San Francisco, CA), 1978.
• FRANK STELLA (AFTER). (AMERICAN,
  FRANK STELLA (AFTER). (AMERICAN, B.1939). "Ambergris Shawl". 100% Silk Crepe de Chine with hand rolled hems printed in 30 colors. With the printed Frank Stella 1995 copyright at lower right. Published by Tyler Graphics, from the limited edition of 250. From a White Plains, NY collection. Dimensions: 45" h x 57" w. Condition: Good. Stitched to backing. Framed behind glass, unexamined out of frame.
• FRANK STELLA "UNION" LITHOGRAPH,
  FRANK STELLA "UNION" LITHOGRAPH, 1974 Frank Stella (American, b. 1936) "Union" screenprint lithograph in colors on Arches paper, from the "Eccentric Polygons" series, 1974, pencil signed and number edition 28 of 100 lower right with blindstamp, printed and published by Gemini G.E.L., Los Angeles. Image: 17.25" H x 22.5" D; frame: 19.25" H x 24" W. Provenance: From an Upper East Side townhouse.
• MANNER OF FRANK STELLA. Abstract
  MANNER OF FRANK STELLA. Abstract Geometric Composition. Oil on canvas. Verso reads Maia '80. From a Hasbrouck Heights, NJ collection. Dimensions: 33.625" h x 33.375" w. Condition: Good. Slight dirt grime to surface. Pulled thread on middle right verso.
• FRANK STELLA (AMERICAN, B.1936).
  FRANK STELLA (AMERICAN, B.1936). Port aux Basques, from Newfoundland Series. 1971. Lithograph and screenprint in colors, on Arjomari paper. Signed and dated in pencil, numbered 56/58, lower right. Published by Gemini G.E.L., with their blindstamps. From an Armonk, NY estate. Dimensions: 32" h x 64" w. (Sheet: 37.9" x 70"). Condition: In apparently very good condition with full margins. Framed behind plexi-glass, unexamined out of frame. A minor speck of soil in the lower margin. *Additional image added to listing 10/11/2023*
• Frank Stella b.1936. Addison
  Frank Stella b.1936. Addison Gallery exhibition poster. 1982, offset lithograph in colors on Warren Lustro Dull paper. 38 h × 23 w in. result: $63. estimate: $700–900. Signed and dated to lower edge ‘Frank Stella '83’. This work is from the unnumbered edition of 100 published by Petersburg Press, New York for the exhibition, Metal Reliefs, 23 October - 17 December 1982, Addison Gallery of American Art, Phillips Academy, Andover, MA.
• Frank Stella b.1936. Vortex
  Frank Stella b.1936. Vortex Engraving #1. 2000, transfer-printed porcelain. ? h × 12? dia in. result: $131. estimate: $100–200. Stamped signature, date and number to verso ‘Vortex Engraving #1 Frank Stella '00 441 of 1000 DM David Mirvish Designs’. Stamped manufacturer's mark to verso ‘H Haengnam Fine Bone China Korea’. This work is number 441 from the edition of 1000.
• FRANK STELLA PRINT, SWAN
  FRANK STELLA PRINT, SWAN ENGRAVING IXBlack and white abstract print. Unsigned. The series of twenty-five prints published over 3 years was Stellas most ambitious project to date, related to his earlier Circuits series. The name of the series comes from the Swan Engraving Company in Connecticut where Stella had shapes cut for his Circuit works. The scraps of these shapes, as well as templates for doily patterns which Swan Engravings Company produced were incorporated into the series, creating intricate graphic patterns. The prints were made by collaging the scraps and templates together on a plywood backing, then inking them and printing, producing intaglio and relief prints. Such a method of assembling the plate from various components was used here for the first time by Stella, exemplifying the constant innovation in his work from series to series. Print is framed and encased in plexiglass. Artist: Frank Stella Issued: 1982 Dimensions: 65"H x 55"W, framed Country of Origin: United States Condition: Minor scrapes on plexiglass
• FRANK STELLA FRAMED
  FRANK STELLA FRAMED POSTERDESCRIPTION: A framed exhibition poster by Frank Stella (American, b. 1936), titled "Polar Co-ordinate for Ronnie Peterson IV", copyright Frank Stella 1980. Framed under glass. CIRCA: 1980s ORIGIN: USA DIMENSIONS: H. 33" x W. 33" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• FRANK STELLA (AMERICAN, B. 1936)
  FRANK STELLA (AMERICAN, B. 1936) "OSSIPEE" LITHOGRAPHDESCRIPTION: A Lithograph By Frank Stella titled "Ossipee" from the "Eccentric Polygon" series, dated 1974, number 64 from the edition of 100, signed "F. Stella", lower right, CIRCA: 20th Cent. ORIGIN: USA DIMENSIONS: H: 26" W: 30" CONDITION: Tear has been repaired on lower margin. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• FRANK STELLA "FORTIN DE LAS FLORES"
  FRANK STELLA "FORTIN DE LAS FLORES" SCREENPRINTFrank Stella (b. 1936). Screenprint with hand-coloring on English Vellum graph paper titled "Fortin de las Flores (First Version)," from "Ten from Leo Castelli Series," 1967. Published by Tanglewood Press Inc., New York. Initialed, dated, and numbered 134/500 along the lower right. A Dayton's Gallery 12 label is adhered to the frame verso. Provenance: Private collection, Minnesota. Sight; height: 18 in x width: 23 in. Framed; height: 24 in x width: 32 1/2 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• SAM GILLIAM "CHARTMAKING" ACRYLIC
  SAM GILLIAM "CHARTMAKING" ACRYLIC ON BIRCH 1997Sam Gilliam (American, 1933-2022). Acrylic on birch plywood titled "The Chartmaking" depicting a colorful abstract composition, 1997. Two pieces are hinged and can swing outwards from the main body of the work. Signed, dated, and titled along the verso. Lot Essay: Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school. Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005. From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel. His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died of renal failure in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved. Height: 22 1/4 in x width: 33 in x depth: 1 3/4 in. Condition: The artwork is in fairly good condition. The surface is stable and there are no losses, breaks, or restorations. Both hinged panels swing open smoothly. All parts are firmly attached and there are no loose panels. Along the left hinged panel along the upper edge there are two star-shaped cracks that project outwards; visible in the lot listing. Along the center panel there is a network of paint accretions that sit on top of the thick resin layer; possibly original to the artistic process. Some light wear throughout the edges, consistent with age and use.
• LARGE CONTEMPORARY OIL ON CANVAS,
  LARGE CONTEMPORARY OIL ON CANVAS, OCEAN SHORE, SIGNED I...Large contemporary oil on canvas, ocean shore, signed illegibly lower right, 40 1/2" x 74 1/2"along with Deisman or Oleisman, two-part abstract of colors on paper, both signed and dated 1984, ss: 21 1/2" x 60", gouache and pencil on paper, paper having watermark 'SAUNDERS', same paper Frank Stella, Henry Moore, Andy Warhol uses along with six pieces to include Jack Lorimer Gray (American 1927 - 1981), lithograph, depicts Brooklyn Bridge with boats and skyline background, printed signature in image lower right, ed. 172/320, framed and matted behind glass, image 23 1/4" x 36"; 20th C. embroidery, coral colored thread, geometric designs, attached to linen canvas, canvas: 25" x 56" along with Alan Spanier (20th C.), three photographs, including: "Bull on Broadway", ed. 30/100, the "Wall Street Bull" sculpture, signed lower right, sight size: 26 1/2" x 38 1/2"; "George Washington Looking at New York Stock Exchange", signed lower left, sight size: 32 1/2" x 48 1/2", "Flags Rockefeller Center", ed. 30/100, signed lower left, sight size: 37" x 58" Provenance: Property from the Credit Suisse Collection. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• MARJORIE STRIDER(New York/Oklahoma,
  MARJORIE STRIDER(New York/Oklahoma, 1934-2014) Green Vertical, 1964, foam resin and epoxy resin on Masonite with acrylic and oil, 96-1/4 x 48 x 10 in. (243.8 x 121.9 x 25.4 cm.) Note: John Yau, in his essay for the exhibition, references this work and others such as Green Horizontal, stating in summary, "...Strider not only underscores that growth and ripening are an inherent part of the life cycle, but openly celebrates sexuality and desire. Strider may well have intended to undermine minimalist insistence on paint just being paint. That Strider did these works at a time when literalism was preferred over associations of any sort amounted to a direct challenge to the Minimalist credo, which Frank Stella pithily stated as 'what you see is what you see.' Not so in Strider's work. She might sum up her work of the 1960s this way: what you see is what you are thinking. And what everybody seems to be thinking about, is sex. Her work is an uncomfortable reminder of our baser instincts. This is why she needed to make it 'comically obscene.' Laughter is a form of release, a way to diminish the tension as well as acknowledge the conflict." Exhibited: Hollis Taggart Galleries, New York, Marjorie Strider, March 10-April 2, 2011, No. 28, ill. (accompanied by a copy of the catalog and a magazine) Condition: edges with losses, some abrasions; some restoration with associated retouch at the bottom of the stalks; lattice type 'frame' with popped corners and wear
• FRANK STELLA "LINCOLN CENTER
  FRANK STELLA "LINCOLN CENTER FESTIVAL" POSTERFRANK STELLA "LINCOLN CENTER FESTIVAL" POSTER Offset lithograph, 1967, by List Art Foundation, Inc. for the Lincoln Center Film Festival; behind glass and framed. Frame: 45 1/4 x 29 1/4 in. (114.9 x 74.3 cm.) Condition: Good condition and quality frame. Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• FRANK STELLA "NINTH NEW YORK FILM
  FRANK STELLA "NINTH NEW YORK FILM FESTIVAL" POSTERFRANK STELLA "NINTH NEW YORK FILM FESTIVAL" POSTER Photo offset, 1971, by Lincoln Center for the Performing Arts/ List Art Posters. For the "Vivian Beaumont Theater" presented by The Film Society of Lincoln Center, Oct. 1-16, 1971. Framed. Frame: 46 1/2 x 31 1/4 in. (118.1 x 79.4 cm.) Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• FRANK STELLA, (AMERICAN, B.
  FRANK STELLA, (AMERICAN, B. 1936), SHARDS V, 1982, LITHOGRAPH AND SCREENPRINT IN COLORS, SHEET: 39 1/2 X 45 IN., FRAME: 42 X 47 1/2 IN.FRANK STELLA, (American, b. 1936) Shards V, 1982, lithograph and screenprint in colors numbered, signed, and dated 83/100, F. Stella, '82 in pencil, l.l. sheet: 39 1/2 x 45 in., frame: 42 x 47 1/2 in. Provenance: The Collection of a Boston, Massachusetts Lady. Condition: Condition: Overall good condition; colors bright; framed under plexiglass, not examed out of frame; floated in frame, appears to be affixed archivally at corners of work.
• FRANK STELLA, (AMERICAN, B.
  FRANK STELLA, (AMERICAN, B. 1936), HAD GADYA: BACK COVER, 1982-84, LITHOGRAPH, LINOCUT, AND SCREENPRINT IN COLORS, 60 1/4 X 53 1/4 IN., FRAME: 60 1/4 X 53 1/4 IN.FRANK STELLA (American, b. 1936) Had Gadya: Back Cover 1982-84, lithograph, linocut, and screenprint in colors signed, dated, and numbered PP IV F. Stella '84 in pencil lower right from Illustrations: After El Lissitzky's Had Gadya 60 1/4 x 53 1/4 in., frame: 60 1/4 x 53 1/4 in. 1982-84, lithograph, linocut, and screenprint in colors Dimensions: 60 1/4 x 53 1/4 in., frame: 60 1/4 x 53 1/4 in. Provenance: Castelli Graphics, New York, New York, October 22, 1985; the Collection of a Florida Gentleman. Condition: Overall good condition. Floating freely in frame, paper slightly warped. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• FRANK STELLA, (AMERICAN, B.
  FRANK STELLA, (AMERICAN, B. 1936), ESKIMO CURLEW, 1977, LITHOGRAPH AND SCREENPRINT IN COLORS, SHEET: 33 1/2 X 45 1/2 IN., FRAME: 34 3/4 X 46 3/4 IN.FRANK STELLA (American, b. 1936) Eskimo Curlew 1977, lithograph and screenprint in colors numbered, signed, and dated 14/50 F Stella 77 in pencil lower right, with Tyler Graphics blindstamp lower right sheet: 33 1/2 x 45 1/2 in., frame: 34 3/4 x 46 3/4 in. 1977, lithograph and screenprint in colors Dimensions: sheet: 33 1/2 x 45 1/2 in., frame: 34 3/4 x 46 3/4 in. Provenance: Harcus Krakow Gallery, Boston, Massachusetts, 1980; The Estate of a Wellesley, Massachusetts Collector. Condition: Overall good condition. Floated in frame, appears to be mounted to backing at upper corners. Red color in center is slightly less orange than it appears in photos. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• FRANK STELLA, (AMERICAN, B.
  FRANK STELLA, (AMERICAN, B. 1936), BLACK TRIAL PROOF; SINJERLI VARIANT II, 1981, LITHOGRAPH WITH SCREENPRINT, 32 X 32 IN., FRAME: 32 1/2 X 32 1/2 IN.FRANK STELLA, (American, b. 1936) Black Trial Proof; Sinjerli Variant II, 1981, lithograph with screenprint signed and dated F. Stella '81 lower right inscribed Black Trial Proof (1) Sinjerli Variant II lower left inscribed SV II State I TP verso 1981, lithograph with screenprint Dimensions: 32 x 32 in., frame: 32 1/2 x 32 1/2 in. Provenance: The Collection of a South Carolina Gentleman. Condition: Mat burn at extreme edges of sheet; scattered toning and foxing verso. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• FRANK STELLA, SINJERLI VARIATION,
  FRANK STELLA, SINJERLI VARIATION, LITHOGRAPH, 1977 Frank Stella (America/New York, born 1936) "Sinjerli Variation" -1977, lithograph. Pencil signed, dated and numbered 67 of 100, framed.
• FRANK STELLA, SINJERLI VARIATION,
  FRANK STELLA, SINJERLI VARIATION, LITHOGRAPH, 1977 Frank Stella (America/New York, born 1936) "Sinjerli Variation" -1977, lithograph. Pencil signed, dated and numbered 79 of 100, framed.
• FRANK STELLA (B.1936) SIGNED
  FRANK STELLA (B.1936) SIGNED ABSTRACT PRINTFramed offset lithograph on paper, "A Bower in the Arsacides," signed lower left Frank Stella (American, b.1936), dated 1993, numbered 19/ 30, Museu de Arte Contemporanea, sight: 34.5"h, 26"w, overall: 43.5"h, 35"w, 19lbs
• FRANK STELLA 'ESKIMO CURLEW'
  FRANK STELLA 'ESKIMO CURLEW' LITHOGRAPH, 1977 Frank Stella (American b. 1936), 'Eskimo Curlew' from the Exotic Bird Series, 1977, color lithograph on paper depicting abstract shapes, pencil signed and numbered PPI to lower right, framed. Provenance: From the Private Collection of Hillel and Johanna Norry, Atlanta, Georgia. Approximate dimensions: image h. 32.75", w. 44.75"; frame h. 36.75", w. 48.75", d. 2.75".
• FRANK STELLA (AMERICAN, B. 1936)
  FRANK STELLA (AMERICAN, B. 1936) "CLINTON PLAZA" FROM BLACK SERIES I 1967, Lithograph. Signed and dated 'F. Stella '67' (lower right). Numbered 47/100. Printer: Styria Studio, New York (blind stamp lower right).
• FRANK STELLA (AMERICAN, B. 1936)
  FRANK STELLA (AMERICAN, B. 1936) ANGRIFF (FROM CONSPIRACY: THE ARTIST AS WITNESS) 1971, Screenprint. Signed and dated in pencil 'F. Stella 71' (lower right). Numbered 48/150. Printer: Styria Studio, New York (blind stamp lower right).
• Four Exhibition Posters for
  Four Exhibition Posters for American Artists at Leo Castelli includes four off-set lithographic posters by Frank Stella (Leo Castelli, 1982), Dan Flavin (1960's and 1970's Installations / 20 October - 10 November 1979 / Leo Castelli / 420 West Broadway, New York), Lawrence Weiner (An Accumulation of Sufficient / Abrasion to Remove Enough of / an Opaque Surface to Let Light / Through with More Intensity / Lawrence Weinger / 14-28 February 1981/420 West Broadway / Leo Castelli, 1981) and Dan Flavin ( Corridors / 16 May - 5 September 1981 / LeoCastelli, 1981). Largest 27 x 27 inches (68.6 x 68.6 cm). Smallest 22 x 16 7/8 inches (55.9 x 42.9 cm). Property of a Midwestern Art Museum
• FRANK STELLA (AMERICAN, B. 1936),
  FRANK STELLA (AMERICAN, B. 1936), CREEDE II Lithograph in colors on silkscreened paper, 1970, pencil signed and dated at lower right, from the Copper Series, framed.
• ROSENTHAL, TWO STUDIO LINE
  ROSENTHAL, TWO STUDIO LINE PORCELAIN CHARGERS Each transfer decorated, one by Roy Lichtenstein 887/3000, and the other by Frank Stella 44/2000, marked, with original boxes.
• STEPHEN GREENE, AMERICAN
  STEPHEN GREENE, AMERICAN (1917-1999), MOREAU'S GARDEN 6, 1995, OIL ON LINEN, 15" X 15"Stephen Greene, American, (1917-1999) Moreau's Garden 6, 1995, oil on linen Signed lower left. Provenance: David Beitzel Gallery, New York. Biography from the Archives of askART: Art reference literature often cites a birth date of 1918 for this artist, while in reality he was born in 1917, as his daughter confirmed. Born in New York City, Stephen Greene had a painting and teaching career in Pennsylvania and New York. His style was modernist, and his subjects often related to Christian themes and symbols that expressed human isolation during World War II. He was also an illustrator for Esquire magazine. He studied at the Art Students League and National Academy of Design in New York City and earned a B.F.A. from the State University of Iowa in 1942 and an M.A. in 1945. He also studied at William and Mary College and with painter Philip Guston. From 1959 to 1965, he taught at the Art Students League, and from 1959 to 1963, he taught at Pratt Institute. From 1968 to 1985, he at the Tyler School of Art at Temple University in Philadelphia. Exhibition venues included the Whitney Museum, National Academy of Design, Art Institute of Chicago, Cororan Gallery, and the Pennsylvania Academy. Source: Peter Hastings Falk (Editor), Who Was Who in American Art oil on linen Dimensions: 15" x 15" Provenance: Stephen Greene (September 19, 1917 – November 18, 1999) was an American artist known for his abstract paintings and in the 1940s his social realist figure paintings. Stephen Greene was born in New York City. He attended the National Academy School of Art and then the Art Students League, and earned a BFA and a MA at the University of Iowa in Iowa City. He studied with Philip Guston, and they remained friends until Guston's death in 1980.[1] Greene taught at Princeton University for many years where he was teacher to many well-known figures in the art world including Frank Stella and art critic and historian Michael Fried. Greene had more than two dozen solo exhibitions of his work in leading art galleries in New York City. He also taught at the Art Students League of New York for several decades. After the mid-1950s and until his death Greene's mature work was related to abstract expressionism, color field painting and surrealism. His work is represented in numerous public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Brooklyn Museum, the Houston Museum of Fine Arts, the Solomon R. Guggenheim Museum, the Carnegie Museum of Art, and the Tate Gallery in London. He died aged 82 in November 1999 at his home in Valley Cottage, New York, where he had lived for more than 40 years with his wife the novelist Sigrid de Lima (1921–1999), who died two months earlier. Their daughter, Alison de Lima Greene, is a curator at the Houston Museum of Fine Arts and has published a number of works on modern art.
• KENNETH E. TYLER, AMERICAN (B.
  KENNETH E. TYLER, AMERICAN (B. 1931), SOLAR BIRD, LITHOGRAPH, 30”H X 22”WKenneth E. Tyler, American, (b. 1931) Solar Bird, lithograph Numbered 12/20 lower left, titled lower middle, signed lower right. From Herron.IUPUI.Edu: Tyler entered the print world in 1962, when he returned to school at 31-years-old and enrolled in the printmaking program at Herron School of Art in Indianapolis. After Herron, Tyler moved on to work at Tamarind Lithography Workshop though the Ford Foundation Fellowship. Then in 1966, Tyler established Gemini G.E.L. (Graphic Editions, Ltd.) with partners Stanley Grinstein and Sidney B. Felsen. As a part of his work at Gemini G.E.L., Tyler pursued a working relationship with the artist Josef Albers, who would become a close friend of Tyler's. Their relationship opened Gemini G.E.L. up to business with other big-name artists. At that time, Tyler also started to push the boundaries of printmaking by expanding print sizes further than they had ever gone before and created new techniques in printmaking. He was interested in adjusting printmaking to work for the artist, rather than adjusting the artist to work for printmaking. "Here is a workshop, there are no rules, no restrictions, do what you want to do."[1] From Gemini G.E.L., Tyler then moved to the east coast and started his own printmaking company, Tyler Graphics, Ltd. Although on a smaller scale than Gemini G.E.L., Tyler Graphics, Ltd. attracted similarly well-known artists and Tyler continued to push the techniques of printmaking. You cannot talk about Kenneth Tyler without talking about the vast array of artists that have leaned upon Tyler's knowledge, ingenuity, and talent. The list of artists which Tyler has collaborated with is lengthy and overwhelmingly impressive. With names like Josef Albers, Robert Rauschenberg, Jasper Johns, Roy Lichtenstein, David Hockney, Robert Motherwell, Helen Frankenthaller, and Frank Stella, it reads more like a list of the top artists of the second half of the 20th century. When we talk about Tyler's work, we are really talking about the work of the artists who have worked with Tyler. As a master printer, Tyler does not produce his own art. Rather, the works that came out of Gemini G.E.L., Ltd. and Tyler Graphics, Ltd. were pieces imagined and designed by the artists who claim them. They were simply produced and brought into reality by Tyler. This is something that makes the work of Kenneth Tyler so interesting. Tyler refers to himself not at as an artist, but as a technician, producer, and publisher, explaining, "My job was to make sure the process was done correctly and push the buttons with the artists permission."[2] He saw himself as the person who carries out the vision of the artist. One of reasons he did not pursue his own art was so that he would not imprint his own vision onto the works he was producing. "As a printmaker and publisher, I can only be as successful as the artists I work with and the art we create together."[3] David Hockney, once noted: "[A]ll Ken's interested in is working with artists. He was wise enough to know he couldn't be one. So, he became a great artisan and found interesting artists who enjoy his skills and wanted to use them ... He rolls up his sleeves and he collaborates with you. He's the chief collaborator, not just the publisher and not just the printer."[4] Perhaps that is the true art of Kenneth Tyler; his collaboration with artists. Sources: Ken Tyler, in Reaching Out: Ken Tyler, master printer (documentary film), Avery/Tirce Production, 1976. Ken Tyler, at Herron School of Art and Design gallery opening, 2018. Ken Tyler, 'Layers of Space and Time: David Hockney's Moving Focus', in Contemporary Master Prints from the Lilja Collection, Liechtenstein and London: the Lilja Art Fund Foundation in association with Azimuth Edition Limited, 1995, p. 125. Judith Goldman, 'Ken Tyler the Artisan as Artist' in Tyler Graphics: The Extended Image, Walker Art Center, 1987, p. 19. lithograph Dimensions: 30"H x 22"W