Frederick Hammersley's "Chinese" (1973) is a lithograph that exemplifies the artist's rare ability to distill geometric form into something quietly magnetic. Working within the disciplined language of hard-edge abstraction, Hammersley constructs a composition of deliberate shapes and carefully calibrated tonal relationships, allowing color and contour to carry the full expressive weight of the image. The result is a work that rewards prolonged attention, revealing subtle tensions and harmonies that are easy to overlook at first glance but impossible to ignore once seen. Hammersley occupies a distinctive position within the canon of American geometric abstraction, associated with the landmark 1959 exhibition "Four Abstract Classicists" alongside Karl Benjamin, Lorser Feitelson, and John McLaughlin. Unlike many of his peers who pursued a cooler, more impersonal aesthetic, Hammersley introduced an element of intuitive warmth into his practice, often titling works with whimsical, evocative words that invited viewers to bring their own associations to otherwise non-representational imagery. The title "Chinese" functions in precisely this way, nudging perception without dictating it, and adding a layer of conceptual play to what might otherwise read as pure formal investigation. Signed by the artist, this lithograph on paper measures 58.4 by 68.6 centimeters and represents Hammersley's printmaking practice at a mature and confident moment. The work is currently offered through The Brodsky Center at PAFA, a venue with a longstanding commitment to advancing fine art printmaking. For collectors drawn to mid-century geometric abstraction, particularly work that balances intellectual rigor with understated personality, "Chinese" presents a meaningful and well-documented acquisition opportunity.