Parasol Press

Displaying 61 - 72 of 73

Results

  • The image shows small black numbers arranged on a light background, along with circular cutouts forming a grid on a dark background. The numbers form a loose outline resembling the upper half of an hourglass. The holes create a structured form, echoing the shape suggested by the numbers. This composition plays with the contrast between numeric order and physical voids.

    Meditation on Theorem of Pythagoras from Q.E.D.

    Mel Bochner, Parasol Press, Crown Point Press, Kathan Brown

    1974

    One from a portfolio of four etchings with aquatint on wove paper, printed chine collé  Accession ID  2022.35.1.2

    Not on view
  • Printed with black shading on white paper, a cleanshaven man wearing thick-framed glasses is shown from the shoulders up in this vertical mezzotint. The man has dark eyes, a short nose, and full mouth. The frames of his glasses are black on top and clear on the bottom. Dark wavy hair falls to the collar of the dark turtleneck he wears under an inky black jacket or shirt. The man’s wrinkled neck lies in shadow, and closer inspection reveals a grid of small squares superimposed over his face. The squares contain wood grain-like texture in shades of gray that creates a shadowy, weathered appearance on the sides of his face and chin. An inscription in lower left reads, “Keith 5/10” and the artist signed and dated the lower right corner, “Close 1972.”

    Keith

    Chuck Close, Crown Point Press, Parasol Press

    1972

    Mezzotint in black ink on rives bfk wove paper  Accession ID  2016.90.1

    Not on view
  • This print shows an array of large, round lollipops with various designs on them, such as hearts, spiral patterns, and swirls. The designs are colored in shades of red, green, yellow, brown, and blue. The lollipops are arranged in two horizontal rows, each positioned with a stick pointing downward, some of them slightly diagonal. The lollipops cast dark blue shadows on the off-white background.

    Big Suckers

    Wayne Thiebaud, Kathan Brown, Parasol Press

    1971

    Color aquatint on rives bfk wove paper  Accession ID  2015.19.3158

    Not on view
  • The image displays a large rectangle divided into two sections - a dark blue rectangle on top and a light beige rectangle below. The composition resembles a clear sky meeting a sandy beach, creating a contrast between the two colors. A sharp horizontal line separates the two halves, emphasizing the division. The image contains only these color blocks.

    Ten Days (b)

    Brice Marden, Patricia Branstead, Kathan Brown, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black and blue on arches paper  Accession ID  2003.92.2

    Not on view
  • ""

    Ten Days

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Unbound portfolio of eight etchings  Accession ID  2003.92.1-8

    Not on view
  • The image shows two large rectangular shapes split by a thin, straight line in the center. The background is a muted beige with faint specks.

    Ten Days (g)

    Brice Marden, Patricia Branstead, Kathan Brown, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black on arches paper  Accession ID  2003.92.7

    Not on view
  • The image shows an intricate network of intersecting lines forming a dense grid pattern. The abstract composition features criss-crossing diagonal lines within small squares. The grid structure and the overlapping lines create a textured surface.

    Ten Days (d)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching in black on arches paper  Accession ID  2003.92.4

    Not on view
  • The image is divided vertically into two equal halves. The left side is light and textured, while the right side is a solid, dark rectangle. The composition resembles an abstract representation of an open door or window, emphasizing the contrast between light and dark. The image is simple with bold lines and contrasting tones.

    Ten Days (f)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black on arches paper  Accession ID  2003.92.6

    Not on view
  • The image displays a large rectangular composition divided into two vertical sections. One side is a light, off-white color and the other side is a rich, dark black. The contrast between the two sections emphasizes the simplicity and boldness typical of abstract art.

    Ten Days (a)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black on arches paper  Accession ID  2003.92.1

    Not on view
  • The image shows a grid with straight vertical and horizontal lines, forming evenly spaced rectangular columns and a single horizontal division across the middle. The layout appears abstract and may resemble a blank calendar or an unmarked spreadsheet, suggesting themes of organization and planning. The geometric shapes create a formal, structured design similar to graph paper or a minimalist architectural floor plan.

    Ten Days (h)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching in black on arches paper  Accession ID  2003.92.8

    Not on view
  • The image displays a grid of evenly spaced squares created by intersecting vertical and horizontal lines. The pattern resembles a textured surface like a tiled floor or woven fabric. The repetitive shapes give the appearance of a complex weaving or graph paper. The design conveys a sense of organized repetitiveness with subtle shading variations adding depth to the abstract composition.

    Ten Days (e)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black and silver grey on arches paper  Accession ID  2003.92.5

    Not on view
  • The image displays a large, rectangular composition divided into two sections. The upper part is a solid, dark abstract shape, contrasting with the lower section. Below, a pattern of crisscrossing lines forms a textured surface resembling dense scribbles or wire mesh. The overall effect can be likened to a night sky above and a tumultuous sea or tight-knit fabric below.

    Ten Days (c)

    Brice Marden, Kathan Brown, Patricia Branstead, Parasol Press

    1971 (published 1972)

    Etching and aquatint in black and silver on arches paper  Accession ID  2003.92.3

    Not on view