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SERIGRAPHS
From his studio/gallery at 807 Cannery Row, Monterey, CA. Jeffrey Sax has been producing and selling his work to a worldwide audience. His serigraphs from the 1980's were hand printed, one color at a time, by master printers (primarily David Smith of Seriphics). Edition series were usually limited to 500 prints (or less) and there are no originals. The artist working with a photographer created transparent overlays which were then burned onto screens by the printer. This integrity factor combined with Jeff's artistry has earned him representation in museums alongside artists like Warhol, Picasso, and Rauschenberg.
Cannery Row #1 (beginning)
6-Color Serigraph, 100% cotton paper, 200 Limited Edition, small number of artists proofs (without sea gull), Dated: 1984, Printer: Art Montgomery
Jeffrey Sax opened his studio/gallery on Cannery Row in 1982. During that time and several years before, the old derelict fish canneries were the day and nighttime haunts of artists, passionate drinkers, young lovers, students, and various other adventures. One had to merely push their way through a cracked door to enter, at your own risk, a world of abandoned industrial decay and beauty. The old conveyor belts were rusted and scattered, roofs were blown off, and large holes in cement floors revealed the pounding surf 20 feet below. These former slaughterhouses of fish were now themselves being consumed by the sea. It was a place where time stood still... Behind this pink facade was a world left alone... a time of reflection... This was one of the first self-published serigraphs the artist commissioned from Art Montgomery, using a moped as a down payment. A small number of artist's proofs are missing the sea gull through the window. One year after publication this print found its way into a show at the Cleveland Museum of Art. Jeffrey Sax was one of the few living artists represented amongst such notables as Picasso, Warhol, Che'ret, Arthur Rackham, to name a few.
Jeffrey Sax opened his studio/gallery on Cannery Row in 1982. During that time and several years before, the old derelict fish canneries were the day and nighttime haunts of artists, passionate drinkers, young lovers, students, and various other adventures. One had to merely push their way through a cracked door to enter, at your own risk, a world of abandoned industrial decay and beauty. The old conveyor belts were rusted and scattered, roofs were blown off, and large holes in cement floors revealed the pounding surf 20 feet below. These former slaughterhouses of fish were now themselves being consumed by the sea. It was a place where time stood still... Behind this pink facade was a world left alone... a time of reflection... This was one of the first self-published serigraphs the artist commissioned from Art Montgomery, using a moped as a down payment. A small number of artist's proofs are missing the sea gull through the window. One year after publication this print found its way into a show at the Cleveland Museum of Art. Jeffrey Sax was one of the few living artists represented amongst such notables as Picasso, Warhol, Che'ret, Arthur Rackham, to name a few.
Cannery Row #2 (middle)
7-Color Serigraph, 100% cotton paper, 475 Limited Edition, small number of artists proofs with grey leading, Dated: 1986, Printer: Seriphics
This restaurant was below the artists Studio/Gallery. Joe Rombi had started small and was growing with the times. It was when small business people were converting the old canneries into retail adventures. Joe's dad, Grank, salvaged old tin siding and nailed sardine cans to the roof for ambience. Tourists were coming to see John Stienbeck's dramatized version of Cannery Row, only to find an eclectic group of small businesses, including a pillow theater that jutted out over the bay, and the usual remains of the old canneries. Every summer a small marijuana plant would sprout in the planter box. It was fun to see how large it would get before someone would discover and pluck it.
This restaurant was below the artists Studio/Gallery. Joe Rombi had started small and was growing with the times. It was when small business people were converting the old canneries into retail adventures. Joe's dad, Grank, salvaged old tin siding and nailed sardine cans to the roof for ambience. Tourists were coming to see John Stienbeck's dramatized version of Cannery Row, only to find an eclectic group of small businesses, including a pillow theater that jutted out over the bay, and the usual remains of the old canneries. Every summer a small marijuana plant would sprout in the planter box. It was fun to see how large it would get before someone would discover and pluck it.
Cannery Row #3 (end)
7-Color Serigraph, 100% cotton paper, 620 Limited Edition, Dated: 1988, Printer: Seriphics
By 1984 the Monterey Bay Aquarium (40 million dollars) was at one end of the Row, and The Monterey Plaza Hotel (60 million dollars) was on the other. Developers were gobbling up the spaces in between. The abandoned canneries had many bouts with mysterious fires, all the while the city was trying to decide the merits of their historical value. This image of a bulldozer about to demolish one of the last original canneries, after a suspicious fire, signals the end of an era... A time after the reckless slaughter of fish, romanticized in the intensely human and colorful novels by John Stienbeck... and a time before the corporate commercialism of Cannery Row. It was an era of inner reflection set against a backdrop of quiet abandon...
By 1984 the Monterey Bay Aquarium (40 million dollars) was at one end of the Row, and The Monterey Plaza Hotel (60 million dollars) was on the other. Developers were gobbling up the spaces in between. The abandoned canneries had many bouts with mysterious fires, all the while the city was trying to decide the merits of their historical value. This image of a bulldozer about to demolish one of the last original canneries, after a suspicious fire, signals the end of an era... A time after the reckless slaughter of fish, romanticized in the intensely human and colorful novels by John Stienbeck... and a time before the corporate commercialism of Cannery Row. It was an era of inner reflection set against a backdrop of quiet abandon...
First Watch
13-color Serigraph, 25 1/4 X 31 Inches, 100% Cotton, Archival Paper, 620 Limited Edition, Published in 1986, Printer: Seriphics
The First Watch serigraph was commissioned by John Sullivan for his breakfast resturant of the same name. It features a young rooster on a cup of coffee crowing as the sun goes up. In every way, every day is a new beginning. In the background is the historical Boatworks building surrounded by the lovely Monterey Bay.
The First Watch serigraph was commissioned by John Sullivan for his breakfast resturant of the same name. It features a young rooster on a cup of coffee crowing as the sun goes up. In every way, every day is a new beginning. In the background is the historical Boatworks building surrounded by the lovely Monterey Bay.
Creme Carmel
The Crème Carmel serigraph was commissioned by Craig and Cindy Ling for their restaurant of the same name. They wanted a simple image to express their philosophy that sometimes the simplest pleasures are the best. Their restaurant was a Carmel standout until they eventually sold it....
Créme de la Créme
5-color serigraph, Printed on 100% cotton paper, 21" x 31", 300 limited edition, published 1983, printed by Art Montgomery
Crème de la Crème was commissioned by Jay and Anne Auburn to celebrate their very successful pastry business. They used the freshest of ingredients and their symbol of choice for this serigraph is a fresh raspberry on the vine that has been filled by a layered cake and then covered in a rich chocolate!
Crème de la Crème was commissioned by Jay and Anne Auburn to celebrate their very successful pastry business. They used the freshest of ingredients and their symbol of choice for this serigraph is a fresh raspberry on the vine that has been filled by a layered cake and then covered in a rich chocolate!
Tilly Gorts.jpg
5-color serigraph, 21" x 20", 100% cotton archival paper, 230 Limited Edition, Published 1989
Tillie Gorts is Monterey's most popular and longest lasting "almost vegetarian" restaurant originally founded by Gil Tortalini. The image of watermelon and a hot winter drink suggests that it is a warm cozy spot in the winter, and a refreshing fun spot in the summer. Simple food, and to the point. They also used the image for their menus, business cards, and T-Shirts until the restaurant was sold.
Tillie Gorts is Monterey's most popular and longest lasting "almost vegetarian" restaurant originally founded by Gil Tortalini. The image of watermelon and a hot winter drink suggests that it is a warm cozy spot in the winter, and a refreshing fun spot in the summer. Simple food, and to the point. They also used the image for their menus, business cards, and T-Shirts until the restaurant was sold.
Panda
5-color Serigraph, 24 X 35 Inches, 100% Cotton Paper, 500 Limited Edition, 50 Artists Proofs, Published in 1985, Printer: Panda Press
While reading about large vegetarian animals Jeffrey Sax came across the little publicized fact that Teddy Roosevelt killed Pandas on a hunting trip to China. The killed bears were brought back to New York City where they were stuffed and presented in diarama's at the Natural History Museum. They were instantly popular and the first "Teddy Bears" were born. This serigraph represents a role reversal. The Panda is holding a doll-like child as a child would hold a cherished toy. The ideal is that the bear will not hurt the child (doll) and when the child grows up, it will not hurt the bear. A theme of mutual respect between man and animal, (Vegetarian) and East and West, (Political and Cultural). The characters in the upper left are Chinese for "White Bear" balanced out by the western letters for Panda. In 1985 with the help of art publisher David Perlmutter, Jeffrey Sax bought a printing press and set up shop. This serigraph is the first and only print that Panda Press completed.
While reading about large vegetarian animals Jeffrey Sax came across the little publicized fact that Teddy Roosevelt killed Pandas on a hunting trip to China. The killed bears were brought back to New York City where they were stuffed and presented in diarama's at the Natural History Museum. They were instantly popular and the first "Teddy Bears" were born. This serigraph represents a role reversal. The Panda is holding a doll-like child as a child would hold a cherished toy. The ideal is that the bear will not hurt the child (doll) and when the child grows up, it will not hurt the bear. A theme of mutual respect between man and animal, (Vegetarian) and East and West, (Political and Cultural). The characters in the upper left are Chinese for "White Bear" balanced out by the western letters for Panda. In 1985 with the help of art publisher David Perlmutter, Jeffrey Sax bought a printing press and set up shop. This serigraph is the first and only print that Panda Press completed.
Taste of the South - W.C. Handy Museum
5-Color Serigraph, Printed on: Archival Black Paper, Published: 1987
38" X 36", 500 Limited Edition, 50 Artists Proofs, Printer: Seriphics
In 1987 Jeffrey Sax was commissioned by the "Taste of the South" to design the W.C. Handy commemorative poster. He was flown to Washington D.C. where he met Minnie Handy, the daughter of W.C. Handy who was very happy with the design. The money raised from the sale of the print was donated to the W.C. Handy Museum which was his old house in Florence, Alabama. The funds collected were used to refurbish the home to it's original state complete with his personal piano. This image depicts the first bar of music from W.C. Handy's famous work, "The St. Louis Blues". The first note represents music for music's sake. The second note signifies the agricultural south where Blues music was born. The third note is a magnolia blossom which epitomizes the famous southern hospitality and culture. Jeffrey Sax retained 100 prints for gallery and museum distribution.
38" X 36", 500 Limited Edition, 50 Artists Proofs, Printer: Seriphics
In 1987 Jeffrey Sax was commissioned by the "Taste of the South" to design the W.C. Handy commemorative poster. He was flown to Washington D.C. where he met Minnie Handy, the daughter of W.C. Handy who was very happy with the design. The money raised from the sale of the print was donated to the W.C. Handy Museum which was his old house in Florence, Alabama. The funds collected were used to refurbish the home to it's original state complete with his personal piano. This image depicts the first bar of music from W.C. Handy's famous work, "The St. Louis Blues". The first note represents music for music's sake. The second note signifies the agricultural south where Blues music was born. The third note is a magnolia blossom which epitomizes the famous southern hospitality and culture. Jeffrey Sax retained 100 prints for gallery and museum distribution.
Pilgrim Whale
6-color Serigraph, Mast & Flags hand painted (watercolor), 38 X 25 Inches, 100% Cotton Archival Paper, 350, Limited Edition, Published in 1989, Printer: Seriphics
The Pilgrim Whale, an original serigraph by Monterey, California artist Jeffrey Sax, was designed for the Orange County Marine Institute to commemorate the second annual Bon Voyage Party for the brig Pilgrim, in anticipation of the 1989 Tall Ship Festival. Sax, whose works have hung alongside those of Picasso, Andy Warhol and Cheret in museums as well as private collections, was commissioned by the Sand Dollar Guild. He was asked to create a hand-painted serigraph depicting the union of the Pilgrim with the California Gray Whale. The motto projected: "We have not inherited the ocean from our parents, but are borrowing it from our children." Jeff Sax's six-color, numbered and signed serigraph successfully reflects whale power united with the spirit of the Pilgrim to help teach students respect for marine life and the necessity of preserving all of its forms.
The Pilgrim Whale, an original serigraph by Monterey, California artist Jeffrey Sax, was designed for the Orange County Marine Institute to commemorate the second annual Bon Voyage Party for the brig Pilgrim, in anticipation of the 1989 Tall Ship Festival. Sax, whose works have hung alongside those of Picasso, Andy Warhol and Cheret in museums as well as private collections, was commissioned by the Sand Dollar Guild. He was asked to create a hand-painted serigraph depicting the union of the Pilgrim with the California Gray Whale. The motto projected: "We have not inherited the ocean from our parents, but are borrowing it from our children." Jeff Sax's six-color, numbered and signed serigraph successfully reflects whale power united with the spirit of the Pilgrim to help teach students respect for marine life and the necessity of preserving all of its forms.
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