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Artworks
Untitled from Homage to Picasso (Hommage à Picasso)
Jan Voss
Lithograph from a portfolio of thirty-one lithographs (one with aquatint, one with collotype, one with screenprint), twenty-two screenprints (one with embossing, one with flocking, one with stencil), eleven etchings (five with aquatint, one with aquatint and drypoint, one with aquatint, drypoint, and engraving), three aquatints (one with etching), and two woodcuts · 1972
Museum of Modern Art
La Rose séparée
Enrique Zañartu
Illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Plate (page 17) from La Rose séparée
Enrique Zañartu
Etching from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Tailpiece (page 39) from La Rose séparée
Enrique Zañartu
Blind embossing from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Plate (page 43) from La Rose séparée
Enrique Zañartu
Etching and engraving from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Plate (page 49) from La Rose séparée
Enrique Zañartu
Etching and engraving from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Tailpiece (page 46) from La Rose séparée
Enrique Zañartu
Blind embossing from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Frontispiece from La Rose séparée
Enrique Zañartu
Etching and engraving from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Plate (page 27) from La Rose séparée
Enrique Zañartu
Etching and engraving from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Plate (page 35) from La Rose séparée
Enrique Zañartu
Etching and engraving from an illustrated book with six etchings (five with engraving) and two blind embossings · 1972
Museum of Modern Art
Untitled, from On the Bowery
Charles Hinman
Screenprint in color, with embossing, on white wove card · 1971
Art Institute of Chicago
Recollections, from Cuevas Comedies
José Luis Cuevas
Lithograph, engraving and embossing in eight colors on white wove paper · 1971
Art Institute of Chicago
Tattooed Acrobat, from Cuevas Comedies
José Luis Cuevas
Lithograph, engraving and embossing in seven colors on white wove paper · 1971
Art Institute of Chicago
Untitled from Cuevas' Comedies
José Luis Cuevas
Two double-sided screenprints from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
The Tatooed Acrobat from Cuevas' Comedies
José Luis Cuevas
Lithograph, screenprint, and embossing from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
Title page from Cuevas' Comedies
José Luis Cuevas
Screenprint from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
Cuevas' Comedies
José Luis Cuevas
Portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
The Giantess in Matisse's Atelier from Cuevas' Comedies
José Luis Cuevas
Lithograph from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
The Magician's Message from Cuevas' Comedies
José Luis Cuevas
Screenprint with collage additions and five lithographs from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
Interior from Cuevas' Comedies
José Luis Cuevas
Lithograph from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
Recollections from Cuevas' Comedies
José Luis Cuevas
Lithograph and embossing from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
The Giants from Cuevas' Comedies (Los Gigantes del Comedias de Cuevas)
José Luis Cuevas
Screenprinted folder and lithograph on five sheets from a portfolio of ten lithographs (one with screenprint and embossing, one with embossing) and five screenprints (two double-sided, one with collage additions) · 1971
Museum of Modern Art
The Fist of the Day (Le Poing du jour) from Homage to Picasso (Hommage à Picasso)
Roberto Matta
Aquatint from a portfolio of thirty-one lithographs (one with aquatint, one with collotype, one with screenprint), twenty-two screenprints (one with embossing, one with flocking, one with stencil), eleven etchings (five with aquatint, one with aquatint and drypoint, one with aquatint, drypoint, and engraving), three aquatints (one with etching), and two woodcuts · 1971
Museum of Modern Art
Ladies from Homage to Picasso (Hommage à Picasso)
Lynn Chadwick
Lithograph from a portfolio of thirty-one lithographs (one with aquatint, one with collotype, one with screenprint), twenty-two screenprints (one with embossing, one with flocking, one with stencil), eleven etchings (five with aquatint, one with aquatint and drypoint, one with aquatint, drypoint, and engraving), three aquatints (one with etching), and two woodcuts · 1971
Museum of Modern Art