Rupert T Deese

Array 350/Gray-Green

2006

"Array 350/Blue" is an original woodcut print by Rupert Deese. It is printed in a limited edition of 20 on Arches Cover paper from a woodblock hand-cut by the artist. The paper size is 19" x 19" and the diameter of the image is 350 mm, whence the title. This print is one of a larger group of prints...

"Array 350/Blue-Green" is an original woodcut print by Rupert Deese. It is printed in a limited edition of 20 on Arches Cover paper from a woodblock hand-cut by the artist. The paper size is 19" x 19" and the diameter of the image is 350 mm, whence the title. This print is one of a larger group of...

"Array 350/Red" is an original woodcut print by Rupert Deese. It is printed in a limited edition of 20 on Arches Cover paper from a woodblock hand-cut by the artist. The paper size is 19" x 19" and the diameter of the image is 350 mm, whence the title. This print is one of a larger group of prints...

"Array 350/Yellow" is an original woodcut print by Rupert Deese. It is printed in a limited edition of 20 on Arches Cover paper from a woodblock hand-cut by the artist. The paper size is 19" x 19" and the diameter of the image is 350 mm, whence the title. This print is one of a larger group of prints...

With hand-drawn lines overlaying a field of narrow, vertical stripes, Tom Orr’s Waterfall prints capture the sense of movement and space of a cascade. Shimmering moire’ patterns and subtle tonal differentiations between the two sets of lines enhance this dynamic visual phenomenon. Orr has previously explored this theme in different media in gallery-based installations and public sculpture commissions. Tom Orr created the "Waterfall" series of etchings at Manneken Press in 2008. Each of the three prints in the series are hand-printed from two etched copper plates...

With hand-drawn lines overlaying a field of narrow, vertical stripes, Tom Orr’s Waterfall prints capture the sense of movement and space of a cascade. Shimmering moire’ patterns and subtle tonal differentiations between the two sets of lines enhance this dynamic visual phenomenon. Orr has previously explored this theme in different media in gallery-based installations and public sculpture commissions. Tom Orr created the "Waterfall" series of etchings at Manneken Press in 2008. Each of the three prints in the series are hand-printed from two etched copper plates...

Artist: Joel Shapiro Title: Untitled Year: 1994 Medium: Woodcut on hand-made paper, Signed and Numbered in Pencil Edition: 27/75 Image Size: 18 x 4.5 inches (46 x 11.5 cm) Pap...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Artist: Richard A. Heinrich, American Title: The Red Temple Medium: Silkscreen, signed and numbered in pencil Edition: 10/20 Image Size: 15.5 x 14 inches Siz...

Artist: Karl Fred Dahmen Title: Semiotische Komposition Year: 1977 Medium: Aquatint Etching, signed, numbered, dated, and titled in pencil Edition: 49/75 Image Size: 27.5 x 21.5 inc...

Brice Marden's Studio Offset lithograph poster (hand signed by Brice Marden in 2015) This print was published on the occasion of Brice Marden's 1996 exhibition at the Matthew Marks Gallery in Chelsea, New York City. The image is based on Nan Goldin's 1995 photograph of Marden working in his studio. The print was signed by Brice Marden for the present owner. A collectors item when hand signed! About Brice Marden: Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. —Brice Marden Brice Marden (1938–2023) continuously refined and extended the traditions of lyrical abstraction. Experimenting with self-imposed rules, limits, and processes, and drawing inspiration from his extensive travels, Marden brought together the diagrammatic formulations of Minimalism, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color. Born in Bronxville, New York, Marden received an MFA from Yale University’s School of Art and Architecture, where his teachers included the painters Alex Katz and Jon Schueler. After graduation he worked as a guard at the Jewish Museum in New York. There, during a 1964 Jasper Johns retrospective, Marden studied Johns’s early works extensively and considered them in relation to the Baroque masters he has long admired, such as Francisco de Zurbarán, Francisco Goya, and Diego Velázquez. Marden’s paintings from the 1960s include subtle, shimmering monochromes in gray tones, sometimes assembled into multipanel works, in a manner similar to the black paintings and White Paintings of Robert Rauschenberg, who hired Marden as a studio assistant in 1966. A trip to Greece in the early 1970s led Marden to create the Hydra paintings (1972), which capture the turquoise hues of the Mediterranean, and Thira (1979–80), a painting composed of eighteen interconnected panels inspired by the shadows and geometry of ancient temples. To heighten the effect of each color, plane, and brushstroke, Marden developed the unique process of adding beeswax and turpentine to oil paint and applying the mixture in many thin layers. Marden employed this technique for the Grove Group paintings (1972–76)—exhibited at Gagosian’s Madison Avenue gallery in New York in 1991, along with related works—and the Red Yellow Blue paintings...