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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

Wrapped Sylvette, Project for Washington Square Village, New York from Homage to Picasso (Hommage à Picasso)
Christo
Lithograph and screenprint with collage additions 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

Untitled from Homage to Picasso (Hommage à Picasso)
Alan Davie
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

Seated Woman from Homage to Picasso (Hommage à Picasso)
Enrico Baj
Screenprint with flocking 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

Picasso Soleil from Homage to Picasso (Hommage à Picasso)
Édouard Pignon
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

Untitled from Homage to Picasso (Hommage à Picasso)
Jirí Kolár
Screenprint on three sheets 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

Free Wheeling
Helen Frankenthaler
Etching in black from one copperplate and color pochoir from one vinyl stencil on white wove paper · 1971
Art Institute of Chicago

Aiming at the Fan, from the series "Tale of Heike"
Mori Yoshitoshi
Stencil on paper · 1971
Art Institute of Chicago

Free Wheeling
Helen Frankenthaler
Etching, with stencilled acrylic additions · 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

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

Soga Goro Drawing a Sword
Mori Yoshitoshi
Stencil on paper; edition 13/50 · 1970
Art Institute of Chicago

The Holy Family
Sadao Watanabe
Hand-colored stencil print on crumpled paper; edition 18/50 · 1970
Art Institute of Chicago

Warriors in Combat
Mori Yoshitoshi
Stencil on paper; edition 35/50 · 1970
Art Institute of Chicago

Untitled
Gordon Rayner
Color lithograph printed in split-font stencil method on white wove paper · 1969
Art Institute of Chicago

Thunder God
Mori Yoshitoshi
Stencil on paper · 1969
Art Institute of Chicago

Wind God
Mori Yoshitoshi
Stencil on paper · 1969
Art Institute of Chicago

Woman with fan
Mori Yoshitoshi
Stencil on paper; edition 18/50 · 1969
Art Institute of Chicago

Blue Triangle (Blaues Dreieck)
Blinky Palermo
Stenciled gouache on wall · 1969
Museum of Modern Art

Fourre-Tout, No. 3
Ben Vautier
Periodical of plastic bag containing fifteen printed sheets, two silver gelatin prints (one with letterpress, one with stencil), one piece of magnetic tape, and one package of spices · 1968
Museum of Modern Art

Stencil Print (Rotten Stump), plate 94 from 101 Prints
Norman Roland Eppink
Color pochoir (stencil) on ivory wove paper · 1967
Art Institute of Chicago

Stencil, Colored Inks (Waupaca), plate 59 from 101 Prints
Norman Roland Eppink
Color pochoir (stencil) on ivory wove paper · 1967
Art Institute of Chicago

Stencil, Water Color (Opposition), plate 58 from 101 Prints
Norman Roland Eppink
Color pochoir (stencil) with watercolor on ivory wove paper · 1967
Art Institute of Chicago

Precision Paintings: Nil and Infinity 889 1010 from The Whole Works
Yutaka Matsuzawa
Cut-and-pasted paper and printed paper with stencil copy from a portfolio of 71 prints · 1967
Museum of Modern Art