Grisha Bruskin

Note D

1991

Lucienne Bloch Untitled, from the Album International 2 Portfolio, 1977 Silkscreen on wove paper 11 1/2 × 11 inches Edition 1/50 Hand signed, number and dated on the front Unframed This is a rare Bloch silkscreen, signed and numbered in pencil from the limited edition of only 50. Superb provenance as it is was acquired from the original Album International Portfolio, number 1 of 50. Text from the Colophon page reads as follows: Swiss born, living in California. Limited signed edition of 50 serigraphs by Lucienne Bloch Lucienne Bloch was the daughter of famous European music composer...

Menashe Kadishman Clothes 2, 1973 Silkscreen on wove paper Signed and numbered 31/70 on the front 23 1/4 × 32 1/2 inches Edition 31/70 Chris Prater of Kelpra Studio, Kentish Town, En...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

Niki de Saint Phalle Invitation au Musee, original museum poster, 1993 Silkscreen on wove paper 16 × 24 inches Unframed (not signed) original poster; not a later reprint This stunnin...

Nam June Paik Do You Know...?, from the New York Collection for Stockholm portfolio, 1973 Silkscreen on paper, in original portfolio sleeve Signed and dated '73 and numbered 36/300 i...

"Sacrifice Economy" Silkscreen 39" x 27.5" inch by Patricio Gonzalez Silkscreen Not framed From "Looking for Happiness" series LOOKING FOR HAPPI...

A very good impression of this color screenprint. Signed and numbered 200/15 in pencil by Bearden. Catalogue reference: Gelburd/Rosenberg GG#59

Takesada Matsutani (Japanese, b. 1937) Propagation-L, 1971 Screenprint in colors Edition 51/75 28 x 27 inches 28.25 x 27.25 inches, framed Takesada Matsutani is a Japanese avant-ga...

Grafica '68 (Partial) Portfolio containing 3 (three) lithographs and etchings Originally issued with 10 Lithographs, Silk Screens and Etchings, of which 7 (seven) are missing Year: 1968 Edition: 100 Size: 17.6 x 23.6 in. or 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signatures: Sheets signed and numbered by hand Comes with folio box and individual artists' presentation sheets. --------------------------------- Artists works included: RENZO VESPIGNANI "Report on the artist" Year: 1968 Medium: Lithograph in two colors Edition: 100 Size: 17.6 x 23.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: RVE_1909_01 LUCIANO DE VITA "Le cavalier inconnu" Year: 1968 Medium: Etching Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: LDV_1909_01 PIERO GUCCIONE "Images" Year: 1968 Medium: Lithograph in four colors Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: PGU_1909_01 ======================= Renzo Vespignani was an Italian painter, printmaker and illustrator. Vespignani illustrated the works of Boccaccio, Kafka and T. S. Eliot, among others. In 1956, he co-founded the magazine Citta Aperta and in 1963, co-founded the group II Pro e II Contro for neorealism in figure art. ---------------- Luciano De Vita ( Ancona , 1929 - 1992 ) was an Italian painter , engraver , set designer and lecturer . Born in Ancona, De vita arrived in Bologna in the first post-war period, after having actively participated in the Second World War and having suffered the dramatic consequences. He attended the Academy of Fine Arts and was a pupil of Giorgio Morandi. From 1962 he taught in Milan at the Brera Academy , while in 1975 he returned to Bologna where he obtained the same chair of engraving that had been Morandi's from 1930 to 1956 . De Vita also actively dedicated himself to the theater , overseeing sets and costumes for shows that were also staged at La Scala in Milan. An example is the Turandot curated by Raoul Grassilli. ---------------- Emilio Vedova (9 August 1919 – 25 October 2006) was a modern Italian painter...

The Wounded One (El Herido) from Violence (La Violencia) 1969 signed, dated and titled in pencil Dimensions: sheet: 22 1/16 x 30 1/16" (56 x 76.4cm) Rafael Canogar ( Toledo , 1935) is a Spanish painter, one of the leading representatives of abstract art in Spain. Disciple of Daniel Vazquez Díaz (1948-1953), in his first works he found a way to reach the avant garde and, very soon, to study abstraction deeply. He initially used a sculpture technique: with his hands he scratched or squeezed the paste that vibrated on flat colored backgrounds. It was a painting in which the initial gesture comes directly from the heart. At this point, Canogar embodied the best of painting material . In 1957 he founded with other artists the EI Paso group. With artists like Luis Feito, Manolo Millares, Pablo Serrano, Manuel Rivera and Antonio Saura, he begins the Spanish avant-garde movement and continues to do so until 1960. It is influenced by Action painting. They defended, between 1957 and 1960 , an informal aesthetic and the opening of Franco Spain...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grimes of The New York Times as "a restlessly inventive printmaker, painter, and sculptor." Born and raised in New York City, Mazur attended the Horace Mann School. He received a bachelor's degree from Amherst College in 1958, then studied art at Yale. Mazur first gained notice for his series of lithographs and etchings of inmates in a mental asylum, which resulted in two publications, "Closed Ward" and "Locked Ward." Over the years, he worked in printmaking and painting. His series of large-scale prints for Dante's Inferno won critical acclaim, and were the subject of a traveling exhibition organized by the University of Iowa in 1994. Later he concentrated on creating large, lyrical paintings which make use of his free, gestural brushwork and a varied palette. Some of these paintings were seen in an exhibition of 2002 at Boston University, "Looking East: Brice Marden, Michael Mazur, and Pat Steir." (See also Susan Danly, "Branching: The Art of Michael Mazur," 1997). The Museum of Fine Arts, Boston, has acquired a definMichael Mazur received a B.A. from Amherst College in 1957, studying in his senior year at the Accademia di Belle Arti in Florence, Italy. He went on to earn both a B.F.A. and an M.F.A. from the Yale School of Art and Architecture in 1961. Mazur's first teaching job was at the Rhode Island School of Design from 1961 to 1964. He was awarded a Guggenheim Foundation fellowship for 1964–65. From 1965 to 1976, he taught at Brandeis University, and from 1976 to 1978 at Harvard University. As an artist, teacher, and writer, Mazur has been active in reviving the monotype process. He contributed an essay to the pioneering exhibition catalogue The Painterly Print, published by the Metropolitan Museum of Art in 1980. Mazur recently chaired the New Provincetown Print...