Mary Lee Bendolph Art

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

Artist: Louisa Chase, American (1951 - 2016) Title: Portfolio of Six Etchings Year: 1984 Medium: Six Drypoint Etchings with Aquatint, Signed and Numbered in Pencil Edition: 30 Paper...

A limited edition, hand signed in pencil intaglio etching on French Arches deckle edged art paper. Krishna Reddy (1925 – 2018) was an Indian master intaglio printmaker, sculptor, and teacher. He was considered a master intaglio printer and known for viscosity printing. Krishna Reddy was born on 15 July 1925, in a small village called Nandanoor, near Chittoor, Andhra Pradesh, in India. Reddy studied at Visva-Bharati University's Kala Bhavana (Institute of Fine Arts) with Nandalal Bose, from 1941 to 1946, and graduated with a degree in fine arts. From 1947 to 1949, he was head of the art section at Kalakshetra Foundation and was also teaching art at the Montessori Teachers' Training Centre in Madras. It was at this time that he took interest in sculpture and painting. In 1949, he moved to London, and continued his sculpture studies with Henry Moore at the University of London's Slade School of Fine Arts. In 1950, Reddy moved to Paris and met artist Constantin Brâncuși. Through Brancusi, he was introduced to cafe discussions on art and met many famous artists during studio visits. During his time in Paris he studied sculpture under Ossip Zadkine and engraving under Stanley William Hayter. In 1957, he traveled to Accademia Di Belle Arti Di Brera (Brera Academy) in Milan to study under Marino Marini. In 2016 he was one of the subjects of the exhibition Workshop and Legacy: Stanley William Hayter, Krishna Reddy, Zarina Hashmi...

Artist: Stephan Strocen, Argentine (1930 - 1999) Title: Dialogando en Amarillo Year: 1970 Medium: Aquatint Etching with Intaglio, signed and dated in pencil Edition: 100 Size: 30 x 2...

PROPOSITION is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in white matte wood with spacers under glass to maintain the de...

This piece titled "This Must Be the Place VE 1/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 ...

CYCLOPS is a hand-tooled aluminum intaglio print on Rives BFK 250g paper with deckle edge. It is a framed monotype in black matte wood with spacers under glass to maintain the deckle edge of paper. The print floats on museum board using archival Hayaku Japanese Hinging Paper. Like Wortsman's sculptures, the abstract components here seem to possess both organic and geometric forms. Note the four corners of black, bracing the center serpentine shape of copper and black speckled white – it is characteristic of Wortsman's practice. Warm, contemporary, uniquely crafted, yet speaks to ancient, tribal traditions of art-making that cross cultures and histories. Highly attuned to the indigenous art of Africa, the Middle East, India and Asia, his forms are organic and geometric abstracts with masculine and feminine attributes that resonate together as a pleasing enigma. They make sense immediately, yet never give up all their secrets. CYCLOPS was exhibited at Harold Wortsman...

This piece titled "This Must Be the Place VE 2/7" is a variable edition piece by Kate VanVliet and is made from Intaglio with soft ground on Rives BFK. This piece is an edition of 7 ...

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art...

Signed and numbered from the edition of 25. Seiko Tachibana was born in Japan and completed her Masters of Art Education at Kobe University, Japan. Her distinctive work balances Asian tradition with minimalist modernity. Tachibana’s work is exhibited internationally and has been acquired by many museum collections, including the Los Angeles County Museum, Fine Art Museums of San Francisco, The Portland Art...

Jasper Johns Untitled 2010 Intaglio on Revere Standard White 19 x 21 1/2 inches 48 x 55 cm Edition of 50 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery...

Considered a major force in the op art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric ...