Joyce Tilley Nagel

Joyce T. Nagel Print "Orange" AP 1 Artist's Proof Handmade Paper Signed Dated

1975

SALE ONE WEEK ONLY "Abstract in Gold and Black" is a well-balanced calm piece. The placement of the gold and white can be read as a distant landscape giving much imagined space to the heavier black area which contains a linear element and the color blue. Semivan is a Master Printmaker and sculptor. He often breaks his surfaces and extends beyond the perimeters in his sculptures. The particular placement of the black area in this piece suggests such a breakage beyond the edge where one imagines a continuation of the strokes or linear elements. This is an altogether extraordinary print. Born in Detroit, Michigan, Douglas Semivan...

"Indianapolis Museum of Art Inaugural Exhibitions", 25 October 1970, is an eye popping large bold colorful geometric abstract silk screen. It is signed on the lower right. Robert Indiana, one of the preeminent figures in American art since the 1960s, played a central role in the development of assemblage art, hard-edge painting, Pop art, Neo-Dada, American Modernism and Modern Art. A self-proclaimed “American painter of signs,” Indiana created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists such as Andy Warhol, Keith Haring, Roy Lectenstein, David Hockney, Romero Britto, Richard Hamilton and Robert Rauschenberg who make the written word a central element of their oeuvre. Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. At 14 he moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, where a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman had studios. Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words onto these sculptures as well as canvases, and became the basis of his new painterly vocabulary. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign...

"Dropout" is one of the monoprints that Joyce Nagel so enjoyed creating. This monoprint is a one-off abstract print. The arrangement of shapes and colors p...

"Vegetable Forms No. 9" "1st State" is a beautiful linear design woodcut of an artichoke. What is intellectually interesting is the fractal beauty of nature found in the artichoke. A fractal is a kind of pattern that we observe often in nature and in art. Whenever you observe a series of patterns repeating over and over again, at many different scales, and where any small part resembles the whole, that’s a fractal. The Artichoke is the perfect example in that the shape of the leaves repeat themselves and they are the same shape as the fruit itself. Fractals are exciting, not only for their mathematical or conceptual representation, but also for the fact that you can visualise the math—and it’s beautiful! This print is rendered in an intense green with a light blue color to delineate the intriguing linear element of the artichoke's leaves. Joyce Tilley Nagel...

"Grid Melt" is one of the monoprints that Joyce Nagel so enjoyed creating. Being a monoprint makes this piece totally unique and unlike any of the other pi...

“Telescoping Triangle” is a stunningly interesting work of art in deep muted shades of alizarin crimson and gray with slashes of black. The embossed design adds depth and complexity to the piece in which two basic shapes of the universe, the rectangle and the triangle, are the main pattern and then repeated in various sizes and placement in the impressed image. The name given to this print process is “Collagraph” It is made by glueing different materials to cardboard and creating a kind of collage. During the inking process the ink will rub off surfaces that are smooth or higher and stay on surfaces that hold more ink, at edge and at lower points thus creating the image. To protect the plate through the printing process it’s sealed with one or more layers of shellac. A collagraph plate is quite sensitive and will be deformed by the pressure of the printing press. Joyce Tilley Nagel...

Victor Guadalajara (Mexican, 1965) 'Intersecciones', 2009 Woodcut and Aquatint 100.00 x 185 cm. (39.4 x 72.8 in.) Edition of 30 Unframed

'Figural Abstraction' is an original block print by American artist and teacher Sylvia Spicuzza. The image, printed in white ink against a grey paper, presents bold and graphic figur...

"Dodge Rebellion Girls" - 1967 Silkscreen on Paper 1967 color silkscreen depicting the Dodge Rebellion Girls by Marc Foster Grant (American, b. 1947). A silhouette of the 'dodge gi...

The Faceless, Unforgettable Three - Modernist Color Lithograph (5/100) Three faceless figures, created by Simon Avissar (Israeli, 1938-2020), in a cool, muted color palette of purple and teal, layered against a speckled background with a sense of light surrounding them. Presented in a new taupe-colored mat. Mat size: 30"H x 24"W Paper size: 25.5"H x 19"W Avissar, Simon (Israeli, 1938-2020) is a Postwar & Contemporary painter born in Casablanca. As a tireless nomad, he exhibited for the first time in 1961, in Jaffa, where he lived and worked for some time. He then moved to Paris, settling into a studio in Montparnasse and began with an exhibition of his work at the Galerie Charpentier in 1964, and after exhibited at Abel Rambert, the Galerie de l’Elysée, and the Galerie Bénézit in the 14 years he lived there. He then moved to the United States, including Washington, New York, and Lose Angeles, while continuing to travel to South America, Australia, and South Africa, exhibiting in many places he visited. His work integrates the contributions of the avant-garde with cubist simplification, chromatic audacity, and abstract geometry. Education 1959-1960 School of Arts Appliques, Paris, France 1959-1961 L'Ecole des Beaux Arts, Paris, France 1962-1963 Bezalel Academy of Art & Design, Jerusalem Awards 1964 The French Ambassador’s Special Award Environmental Sculptures...

Modern abstract etching with hard edges of the printing plate contrasting with the soft dark gray tones inside the figurative centerpiece. Titled "Falling Figures, Decayed State", "E...

Mid-century modern abstract serigraph with a bird by Howard Bradford (Canadian/American, 1919-2008), 1959. This limited edition figurative abstract print features a white bird in an ...