George Read

Riviera VI

2022

Work on paper

Work on paper

Graphite, mineral pigments, flashe black and Sienna on Archives Color paper

Work on paper

Graphite, mineral pigments, flashe black and sienna on canvas

Work on paper

Stanley WIlliam (Bill) Hayter Meduse, 1958 High Viscosity Etching & Engraving Pencil signed, titled and numbered from the edition of 50 (10/50) on th...

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...

SALE ONE WEEK ONLY "Animal Spirit I" is a dynamic expression of McGee's mythical animal spirits. Hand signed and dated lower right front and on the verso signed and titled. Painting and mixed media present a complex scene that incorporates use of graphite and acrylic paint on thick handmade paper. Michelle Oka Doner was invited to participate in McGee's studio in the early 1980s and brought her handmade paper skills to share engaging McGee in this creative pursuit. McGee continued to develop these spiritual creatures throughout his career as can be seen in a piece from 1984, "Noah's Ark: Genesis, 1984," on display at the Detroit Institute of Arts, his brilliant 2005 "Progression" a 45-foot wide aluminum sculpture at Beaumont Hospital, Royal Oak, Michigan, and his stunning 2016 "United We Stand" sculpture at the Charles H. Wright Museum of African American History . His genius can be seen in sculpture installments throughout the city of Detroit. "Animal Spirit I" is signed and dated lower right. Charles McGee was born into a family of sharecroppers. While helping his grandfather tend the land, "he observed firsthand the order and harmony that exists within nature." He had no formal schooling until moving to Detroit at age 10, where he found that "everything was on the move and it hasn’t slowed down yet." in 2017 he observed, "I learned something not being in school — because life is school . . .I learn something every time I move. Every time I go around a corner, something new is revealed to me.” McGee took advantage of the GI Bill to attend classes at the Society of Arts and Crafts, now the College for Creative Studies, Detroit, MI. Other College for Creative Studies faculty and graduates include Richard Jerzy, Harry Bertoia, Doug Chaing (currently director of Lucas Film), Stephen Dinehart (game maker, writer, designer connected with The David Lynch Foundation), Tyree Guyton (international artist), Herb Babcock , Jerome Feretti, Kevin Siembieda (writer, designer and publisher of role-playing games), Renee Radell (American Expressionist formerly from Detroit and New York), Philip Pearlstein, Charles McGee (nationally recognized African American sculptor of animal and dancing spirits), Philip Pearlstein (2000 Honorary Doctorate, Modern Realism style), John Louis Krieger (American Modern) and William Girard (American Modern.) After retiring from the Corps of Engineers, McGee spent 1968 studying art in Barcelona. Despite not knowing the language at the outset, he immersed himself in the culture and opened himself to a whole new range of experience that would play out in his artwork. "If you free yourself, you have this kind of opportunity to have those experiences, horizons, and new vistas." (per interview with Nick Sousanis. He returned to Detroit and curated "Seven Black Artists" at the Detroit Artists Market in 1969, which along with McGee himself, included Lester Johnson, Henri Umbaji King, Robert Murray, James Lee, Allie McGhee...

Contemporary mixed media (acrylic, pastel, pencil, and collage) abstract floral painting by emerging artist Federica Aiello Pini, exploring nature...

Susan Reedy’s work explores and responds to surfaces often seen in urban areas. Due to the passage of time and their interaction with the people and weather, these surfaces are in th...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in wh...