Richard Anuszkiewicz

Limited Edition Scarf for the Smithsonian

1975

RICHARD ANUSZKIEWICZ Grey Tinted Rainbow, 1992 Assemblage with 14 Color Silkscreen and Lithograph Edition of 40 Pencil signed and numbered 11/40 on the front Frame included: elegantl...

Richard Anuszkiewicz Soft Lime, 1976 8 Color silkscreen on Lenox 100% Cotton paper 38 × 48 inches Pencil signed and numbered 41/75 on the front; bears printers blind stamp from NYIT ...

Bridget Riley Print for The Chicago 8, from Conspiracy: The Artist as Witness (Schubert, 15), 1971 Silkscreen on 100% handmade rag paper Signed and numbered 110/150 and dated i1971 n graphite on the front also bears the printer's distinctive blind stamp Frame included: Work is elegantly floated and framed in a handmade white wood museum frame with Tru-vue Optium acrylic glazed plexi (the highest quality). Measurements: Framed: 25.75 inches vertical by 19.75 inches horizontal by 2 inches Artwork: 24 inches vertical by 18 inches horizontal This is one of the most celebrated and coveted silkscreens Bridget Riley ever made. Not too many Bridget Riley graphic works from this period are on the market. Original Op Art three color silkscreen on 100% handmade rag paper from the early 1970s -- the most desirable and collectible era -- by internationally renowned British abstract Op artist Bridget Riley, one of the leading artists of her generation - and one of the most bankable living female artists in the world. Hand signed, numbered and dated on the lower recto from the limited edition of 150. Also, the verso lower left features printed copyright stamp of the artist, with date: Copyright © 1971 and Bridget Riley Printer's distinctive blindstamp (Kelpra Studios London)with unique inventory number, verso lower right. Riley burst onto the international art scene in the mid Sixties, after being chosen to participate in the groundbreaking “Responsive Eye” exhibition at the Museum of Modern Art, alongside artists like Richard Anuszkiewicz, Yaacov Agam and Victor Vasarely - announcing the the ‘arrival’ of Op Art to the world. This stunning work was proofed under the supervision of the artist and printed by hand at Kelpra Studio Ltd., London, England. "Print for Chicago 8" was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 (who later became the Chicago 7) a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This classic Op Art print - quintessential Riley- is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Published by: David Godine and the Center for Constitutional Rights Printed by: Chris Prater, Kelpra Studios Ltd., London, England Catalogue Raisonne Reference: Schubert, 15 Bridget Riley Biography Bridget Riley's (b. 1931) abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature. Since 1961, she has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, a wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 1967, Riley introduced color into her work, thus expanding the perceptual and optical possibilities of her compositions. Riley was born in 1931 in London, where she attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. Riley’s first solo exhibitions were held at Gallery One, London, in 1962 and 1963, followed by two exhibitions at Robert Fraser Gallery, London, in 1966 and 1967. She was also at that time included in numerous group exhibitions such as Towards Art?, Royal College of Art London (1962); The New Generation, Whitechapel Gallery, London (1964); and Painting and Sculpture of a Decade 1954–1964, Tate Gallery, London (1964). In 1965, her work was included in the now-seminal group exhibition The Responsive Eye, organized by William Seitz at The Museum of Modern Art, New York. In 1968, she represented Great Britain at the 34th Venice Biennale (along with Philip King), where she was the first living British painter to win the prestigious International Prize for Painting. Her first retrospective, covering the period from 1961 to 1970, opened at the Kunstverein Hannover in 1971 and subsequently traveled to Kunsthalle Bern; Kunsthalle Düsseldorf; Galleria Civica d’Arte Moderna, Turin; and the Hayward Gallery, London. More recent significant solo presentations include those at Dia Center for the Arts, New York (2000-2001); Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany (2002); Museum of Contemporary Art, Sydney (2004-2005); Musée d'Art Moderne de la Ville de Paris (2008); Walker Art Gallery, Liverpool (traveled to Birmingham Museums and Art Gallery; Norwich Castle Museum and Art Gallery; Southampton City Art Gallery; 2009-2010); The National Gallery, London (2010-2011); Art Institute of Chicago (2014-2015); The Courtauld Gallery, London (2015); De La Warr...

Richard Anuszkiewicz The Paris Review, 1965 Silkscreen on Beckett 90 lb. Hi-White paper with vellum finish 31 × 26 inches Edition 23/150 Signed lower left; dated and numbered lower r...

Hugo Demarco Relation Couleur, 1973 Silkscreen on velincarton Hand signed and numbered 63/200 on lower front. Bears the publisher's blind stamp on the fro...

Hugo Demarco Relation Couleur, 1973 Silkscreen on velincarton Hand signed and numbered 63/200 on lower front. Bears the publisher's blind stamp on the fro...

Victor Vasarely (1906 – 1997) Composition Cinétique Serigraph in colors on wove paper, 1970 29 x...

"Couleur Additive Perseus" has a stunning appearance and an optical effect, which catches the beholder's attention from the very first time. Carlos Cruz-Diez from Venezuela was one o...

SLOWAVE (Yellow) Signed and numbered screen print by Florian & Michaël Quistrebert. This edition has been done in 2021. Item is new, sold by the publisher. Available without frame....

SLOWAVE (Red) Signed and numbered screen print by Florian & Michaël Quistrebert. This edition has been done in 2021. Item is new, sold by the publisher. Available without frame. As...

SLOWAVE (Green) Signed and numbered screen print by Florian & Michaël Quistrebert. This edition has been done in 2021. Item is new, sold by the publisher. Available without frame. ...

SLOWAVE (Red) Signed and numbered screen print by Florian & Michaël Quistrebert. This edition has been done in 2021. Item is new, sold by the publisher. Available without frame. As...