Alan Shields

TV Re-Run B Unique mixed media monotype and colored embossing geometric abstract

1978

Sam Gilliam Buoy Landscape IV, 1982 Color relief print, etching, screenprint, drypoint, aquatint and roulette all from deeply etched copper plates, on handmade wove paper 31 1/2 × 24 inches Hand signed and numbered 3/25 in graphite pencil Hand-signed by artist, Signed by artist, numbered, and dated in pencil and blind-stamped by printer-publisher on lower right, titled in pencil on lower left, recto Unframed with elegant deckled edges Rare vintage intaglio and relief, all from deeply etched copper plates. Other works from this series are in the permanent collections of major museums & institutions like the Smithsonian, so they are quite scarce on the open market. Steven M. Andersen (Printer) Philip Barber (Printer) Hang Nguyen (Printer) Stephanie Nowack (Printer) Michael Reid (Printer) Daniel Rounds (Printer) Vermillion Editions Limited (Publisher) Sam Gilliam Biography: Sam Gilliam was one of the great innovators in postwar American painting. He emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. Suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. As an artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam pursued a pioneering course in which experimentation was the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions took on an increasing variety of forms, moods, and materials. In addition to a traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C. in 2005, Sam Gilliam was the subject of solo exhibitions at the Museum of Modern Art, New York (1971); The Studio Museum in Harlem, New York (1982); Whitney Museum of American Art, Philip Morris Branch, New York (1993); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Phillips Collection, Washington, D.C. (2011); and Kunstmuseum Basel, Switzerland (2018), among many other institutions. A semi-permanent installation of Gilliam’s paintings opened at Dia:Beacon in August 2019. His work is included in over fifty public collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Art Institute of Chicago. Sam Gilliam, Green April, 1969, acrylic on canvas, 98 x 271 x 3 7/8 inches (248.9 x 688.3 x 9.8 cm), Collection of Kunstmuseum Basel, Basel, Switzerland, Courtesy of David Kordansky Gallery, Los Angeles, photography by Lee Thompson...

Stanley Boxer Finale, from Carnival of Animals (Tyler Graphics, 119:SB31), 1979 Etching, aquatint, engraving and drypoint on hand colored TGL handmade paper Edition 16/20 Pencil sign...

Frank Stella Plutusia, from Imaginary Places II (Axsom & Schnitzer, 246), 1996 52 color lithograph, screenprint, etching, aquatint, relief, mezzotint, engraving on white TGL handmade...

Santi Moix Seeing Don Quixote and Sancho ("the famous pair"), ca. 2008 Drypoint, etching and abrasion with hand coloring with watercolor, along with graphite annotations Hand signed and numbered 1 of 5 (1/5) by the artist on the front Frame Included: elegantly floated and framed in a museum quality hand made wood frame, finished with authentic gold leaf The present work is one of a suite of hand colored prints that were included in the exhibition "Santi Moix: Don Quixote" at PACE prints from September 11 to October 4, 2008. Excerpt from the PACE Gallery Press materials: It is clear that Moix, a true Catalonian, has a rightful claim to the lineage that spawned the extraordinary draughtmanship of his Spanish predecessors- Goya and Picasso. “Part of the pleasure of this project on Quixote by Santi Moix is that it boldly closes the gap between writing and art, between the markmaking of the pen, the stylo, the etching tool, between the fiction of two absolutely distinct means of expression, and proposes instead a true imaginative domain in which unity is everything” – Adrian Dannati, 2008 Measurements: Frame: 22 x 27 x 1.5 inches Print: 19.5 x 25 inches Exhibition History: "Santi Moix: Don Quixote" at PACE prints from September 11 to October 4, 2008. Published by Pace Prints, in collaboration with the Institut Ramon LLull Provenance: PACE Editions, New York, NY This work is elegantly floated and framed in a hand made museum quality wood frame, finished with genuine gold leaf, under UV plexiglass. About Santi Moix: Santi Moix was born in Barcelona in 1960. Recent solo exhibitions include “Brooklyn Studio,” M77 Gallery, Milon, Italy; “Santi Moix on Huckleberry Finn: Watercolors and Wall Dryawings,” Paul Kasmin...

David Shapiro (American, b. 1922) Waterfall I (de-accessioned from the Denver Art Museum), 1979 Spit-bite etching, drypoint and carborundrum on Lanaquerelle...

Alan Shields TV Re-Run A, 1978 Mixed Media Monotype embossing, linocut, with watercolor and silver leaf applied decoration on TGL Handmade Paper. Mounted on Linen Board Signed by Ala...

Artist's proof of hand copper application and aging techniques by Patricia Pearce (American, b. 1948). Unsigned, but was acquired with other Patricia Pearce pieces. Presented in a ne...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate