Louise Nevelson

Ancient Landscape II (Ancient City)

1953-55

Annotated in pencil on detached bottom margin: “Printed by the artist’s own press at 4 rue d’universite, Paris, Sept. 1958” Edition: 10 (8/10) Printed in red, black with gold leaf highlights Dedicated in pencil by the artist: “For Alice and Albert Turner...

Untitled Engraving, drypoint & carborundum, c. 1960's Signed and numbered in pencil (see photos) Edition: 25 (9/25) Printed by the artist Condition: Adhesive residue on the verso to...

Red Mountain Three color lithograph, 1986-7 Signed, titled and dated in pencil lower right Annotated "B.A.T." for Bon a Tire lower left corner This example is the printers guide for printing the editon of 40 Printed on BFK Rives paper Printed at Derriere L'Etoile Studios, New York Printer: Maurice Sanchez Condition: Excellent, never framed Image/Sheet size: 45 1/4 x 30 inches Louisa Chase came to prominence in the 1980's as one of the outstandingNeo-Expressionist painters. Her work then was characterized by bold colors and brush strokes, often incorporating natural elements and fragments of the figure. Louisa Chase's works have been featured in gallery and museum shows in Cologne, Nurnberg, Luzem, Switzerland, Toronto, and Tokyo, and various galleries and museums throughout the US. She has also been featured at the American Pavillion at the 1984 Venice Biennale. Also in 1984, the Institute of Contemporary Art in Boston organized as travelling exhibition of her work. In 1997, the Madison Art Center organized a retrospective of her prints, Louisa Chase: Prints, 1981-1996. She has been a featured artist at the University of Wisconsin's Tandem Press and at the Tamarind Press; ahe was also invited to do a print for Lincoln Center in New York City. The recipient of two grants from the National Endowment for the Arts, Chase's works are in the permanent collections of such museum as The Museum of Modern Art, the Metropolitan Museum of Art, The Whitney Museum of American Art (New York), The Brooklyn Museum of Arts, The Corcoran Gallery and The Library of Congress (Washington D.C.), The Walker Art Center (Minneapolis), the Mount Holyoke College Art Museum, the Denver Museum of Art, and the Chazin Museum of Art of the University of Wisconsin, Madsion and the Madison Museum of Contemporary Art (Madison WI). Bibliography: Elizabeth Armstrong, Painters who print (Minnapolis: Walker Art Center, 1984); Ruth S...

Baby, Baby Etching & aquatint printed in colors, 1991 Signed, dated, titled & numbered in pencil (see photos) Edition: 35 (4/35) plus 10 AP Condition: Excellent, colors fresh Image...

Untitled Engraving, drypoint & carborundum, c. 1960's Signed and numbered in pencil lower margin (see photos) Edition: 25 (9/25) Printed by the artist Condition: Adhesive residue on the verso top margin from previous matting. Image/Plate size: 4 1/2 x 4 inches Note: Goetz was born in the United States, moved to Paris and became a noted Surrealist artist and journalist of the surrealist movement. As a printmaker, Goetz invented carborundum printmaking in the 1960’s. In 1968, La gravure au carborundum, a treatise on carborundum printing, was published by the Maeght Gallery. It was prefaced by Joan Miró. Goetz created many abstract prints using this method. Other artists such as Antoni Clavé, Antoni Tàpies, and in particular Joan Miró, employed carborundum printing in their work. Henri Bernard Goetz (1909-1989) Henri Bernard Goetz was born 29 September 1909 in New York, in a family of French and American origin. He studied at Harvard University and the Grand Central Art School before moving to Paris in 1930 where he continued his studies at the Academies Julian and Academies Ozenfant in Montparnasse. After a brief return to the US in the early 1930’s he settled permanently in France, taking a Parisian studio next to Victor Brauner. With Brauner Goetz became involved with the Surrealist group and was soon a highly accomplished exponent. 1935 would be a year of major importance for Goetz: he exhibited for the first time at the Salon des Surindependants, he married the Dutch painter Christine Boumeester and he met Hans Hartung, who would become a close lifelong friend. In 1937 Goetz held his first solo show at Galerie Van Leer, Paris. During the war, having neglected to become naturalized French citizens, Goetz and Boumeester became illegal aliens and both worked in the resistance movement. They printed leaflets on a simple printing press and created posters to paste...

Untitled Signed in pencil lower right (see photo) Edition: 25 (9/25) (see photo) Engraving, drypoint & carborundum Printed by the artist Condition: Excellent, slight residue on reverse Sheet: 9 7/8 x 12 3/4" Image/Plate: 5 x 7" Note: Goetz was born in the United States, moved to Paris and became a noted Surrealist artist and journalist of the surrealist movement. As a printmaker, Goetz invented carborundum printmaking in the 1960’s. In 1968, La gravure au carborundum, a treatise on carborundum printing, was published by the Maeght Gallery. It was prefaced by Joan Miró. Goetz created many abstract prints using this method. Other artists such as Antoni Clavé, Antoni Tàpies, and in particular Joan Miró, employed carborundum printing in their work. Henri Bernard Goetz (1909-1989) Henri Bernard Goetz was born 29 September 1909 in New York, in a family of French and American origin. He studied at Harvard University and the Grand Central Art School before moving to Paris in 1930 where he continued his studies at the Academies Julian and Academies Ozenfant in Montparnasse. After a brief return to the US in the early 1930’s he settled permanently in France, taking a Parisian studio next to Victor Brauner. With Brauner Goetz became involved with the Surrealist group and was soon a highly accomplished exponent. 1935 would be a year of major importance for Goetz: he exhibited for the first time at the Salon des Surindependants, he married the Dutch painter Christine Boumeester and he met Hans Hartung, who would become a close lifelong friend. In 1937 Goetz held his first solo show at Galerie Van Leer, Paris. During the war, having neglected to become naturalized French citizens, Goetz and Boumeester became illegal aliens and both worked in the resistance movement. They printed leaflets on a simple printing press and created posters to paste...

Robert Motherwell Untitled (from Portfolio 9), 1967 Lithograph, 1967 22.25 x 17.25 in. (56.52 x 43.82 cm.) Signed; lower left with artist's trademark initials; numbered, Publisher...

James Rosenquist (1933-2017) "Rouge Pad" One color etching, aquatint and embossing with hand-coloring on wove paper, 2nd state, 1978 Sheet size: 22-3/4 x 40 inches (57.8 x 101...

JIM DINE The New French Tools 3 (For Pep) Etching, aquatint and electric tools on tan wove paper, 1984. Image Size: 23 1/2 x 19 1/4inches, full margins...

James Rosenquist (1933-2017) "Color of Mind and Muscle" Screenprint in colors on wove paper, 1996 31-1/2 x 25-3/4 inches (80 x 65.4 cm) (sheet) A.P. 7/10 edition of 30 Signed, numb...

Donald K. Sultan (b. 1951) "Lilies" Screenprint in colors on arches 88 wove paper, 1998 Sheet size 24 x 20 inches Ed. 47 of 70 Initialed, numbered, dated, and titled in pencil alo...

JAMES ROSENQUIST Miles from America Screenprint in colors with pochoir on Arches paper, 1975 Signed and numbered and titled in pencil along lower edge Edition number AP 1/25 (asi...