Sir Terry Frost

Timberaine: C - Print, Woodcut, Abstract Art, Contemporary Art, Terry Frost

2000

Oil-based woodcut printed in colours. Signed in pencil and numbered from the edition of 40. Printed on Awa Kozo paper by Kevin Oster, Watanabe Studio Ltd., New York. Published by ...

Woodcut printed in colours, 2018. Signed in pencil, numbered from the edition of 15.

Signed in pencil and inscribed. An arist's proof aside from the edition of approximately 20. Printed on cartridge paper by the artist's father, Roy C. Judd. Published by the artist. ...

Woodcut, 2020. Signed in pencil, numbered from the edition of 15.

Signed in pencil, numbered from the edition of 75. (Galfetti 289).

Signed in pencil, numbered from the edition of 75. Printed on Mandeure rag paper by Arte Adrien Maeght, Paris. Published by Maeght editeur, Paris. (Dupin 440).

Bold woodblock serigraph by Ruth Chaney (American, 1908-1973). Numbered (#17), titled, signed, and dated along the bottom edge. The Smithsonian American Art Museum has an edition of...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: harlequin clown Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins...

Blocky black and white depiction of a goat, by artist Leonhardt Wüllfarth, c.1950. Displayed in a white mat with a gold border and fits a standard-size frame. Archival plastic sleeve...

Blocky black and white depiction of a lamb, by German artist Leonhardt Wüllfarth, c.1950. Displayed in a white mat with a gold border and fits a standard-size frame. Archival plastic...

This original color woodcut was created by the artist in 1993. Hand-monogrammed by the artist in pencil and numbered, from the edition of 500. Available for local pick up from Michae...

Medium: original woodcut. Printed in 1950 for the back cover of Derriere le Miroir (issue number 33) and published in Paris by Maeght. Size: 15 x ...

Medium: original woodcut. Executed by Hans Erni in 1970 for the "Dames des Décans" deluxe book portfolio. There were 324 copies of the book issued...

Medium: original woodcut. Printed in Paris in 1927 on Arches paper, and issued in a limited edition of 750 for the artist's own "Histoires & Poeme...

Medium: original color woodcut. Reference: Dupin 1291. Published for the Jacques Dupin catalogue raisonne "Miro Graveur II" in 1989. Size: 12 1/2 x 9 3/4 inches (320 x 247 mm). A ric...

Medium: original color woodcut. Reference: Dupin 1289. Published for the Jacques Dupin catalogue raisonne "Miro Graveur I" in 1984. Sheet size: 12 1/2 x 9 3/4 inches (320 x 248 mm). ...

'Sun Tree' - A signed, limited edition 26-colour silkscreen print with 9 collage elements by renowned British abstract artist Sir Terry Frost RA. ​ Medium: Screenprint with Collage ...

At Five O'Clock In The Afternoon by Sir Terry Frost Signed and numbered 5/25 Image 55 x 37.7 cm Published by the artist 1990 On Somerset Satin Paper Contemporary black frame, behind...

Frost, Sir Terry (English, 1915-2003). RED AND BLACK ON GREEN. Screenprint in colors, 1968. Edition size not known. Signed and dated in pencil and inscribed "Artist's Proof." Printed...

Sir Terry Frost (British,1915-2003) : Thrust Signed & dated 'Frost 58' in pencil, lower right Titled on reverse Ink and wash on paper Provenance: Austin Desmond Fine Art, label verso . The Mayor Gallery, label verso Exhibition history: Austin Desmond 'Terry Frost Works on Paper, 1947 – 1972' Very few artists are successful in monotone as it is brutally visual so any weaknesses in the composition and/or the technique used are laid bare. This is a rare work and the monotone is totally appropriate for the title, ie simple, focused energy in the motion, and also focuses the viewers attention on the movement in the work which you can feel. Measures: Sheet height 24 cm, 9 ½ in., length 34.5 cm, 13 ½ in., In a moulded, ebonized frame. Frame height 46.5 cm, 18 ¼ in, length 56.5 cm, 22 ¼ in, In 1958 Frost was working from Porthmeor Studios in St Ives, having returned with his family from his teaching post in Leeds the previous year. Contemporary St Ives was again a hotbed of artistic activity, with Roger Hilton, Barbara Hepworth, Bernard Leach, Peter Lanyon, Patrick Heron and Brian Wynter all working in the town or nearby. Terry Frost's studio in St Ives, circa 1960. Frost was already an established figure, with two solo shows at the Leicester Galleries to his name and a third that year. In the same year he moved to Waddington Galleries, where he would have exhibitions regularly until 1978. The Tate purchased a first picture in 1959, and Frost's career was also poised to go international with his first American solo show, in 1960, at the Bertha Schaeffer Gallery in New York - a critical success which was attended by American heavyweights de Kooning, Rothko, Kline, Newman, and Motherwell. Frost characterised these years as 'a period of total confidence any mark I made seemed to be fine.' This work Thrust is strongly situated in the development of themes from Frost's Leeds years of 1954 to 1957 and before, to those of his work of the Sixties; and demonstrates motifs present in work from across his career. In the preceding years in Leeds he made a series of paintings which represented a movement through a landscape in abstract, for example Winter 1956, Yorkshire (Tate Collection). The fascination with motion and force and how these could be rendered in composition was first explored earlier in the decade, and extended through to later work such as the Laced, and Suspended Forms series. Here this enquiry is clearly present, both in the title Thrust and in the strong sense of propulsion of the two emphasised v or u forms towards the centre of the image. In all of Frost's work there exists a tension between abstraction and figuration - he never relinquishes to the complete abstraction advanced by Ben Nicholson and Naum Gabo and others. From the late fifties into the sixties Frost had a particular approach to the issue: he gave his apparently abstract forms coded meanings. The clearest example of this is the V-shaped wedge, signifying the female nude, of which Frost himself explains firstly the compositional properties: I used wedges a lot to tighten up form... If you've got tightness on a flat surface, the structure is a certainty, it can't fall apart. He goes on to explain the motif's significance to a painting's content: The chevrons and wedges are all part of the figure. The chevrons become nipples often, and then the penetration is a chevron as well. In paintings of the following years, from Black Wedge and White Nude of 1959, to Three Graces and Force 8 of 1960 the wedges are strongly defined. Here in Thrust the motif in development is less sharp, but nonetheless present and active and fundamental to the image; pressing in from two sides and providing a strong contraction of focus. Frost mentions the contemporary domination of Henry Moore and 'his lying-down things' as contributing to his desire to represent the reclining female form. Equally: There was always that side of me. I have to face the fact that I was a terrific flirt. I think Hilton and I were having arguments about the figure at that time, and Lanyon had done a few figure paintings, so there was a bit of a battle on. I was trying to stick to abstraction, but occasionally my romantic side, my love-making side, would take over. Terry Frost, Grey Entry, 1962 (Private Collection) Chevrons continue to appear into Frost's late work, and the more rounded but still directional C- and D-forms are also a dominant motif. Terry Frost, Red and Black on Blue, 1968 (Tate Collection) For an artist often associated with colour the subtlety with which he manipulates a work in black and grey tones is masterly. Ronnie Duncan, friend of Frost from the Leeds years, and collector, writes: Frost uses black with an uncanny authority and with the ability to evoke more colour from it than any other artist of our time, including Kline and Motherwell. (No wonder his favourite quotation from Rochester is “All colours are contained in black”). Paintings in Museums and Public Art Galleries : UK • Aberdeen Art Gallery & Museums • Abbot Hall Art Gallery, Kendal • Arts Council of Great Britain, London • Birmingham Museums & Art Gallery, UK • British Council, London • Bolton Museum & Art Gallery • Cheltenham Art Gallery and Museum, UK • City Museum & Art Gallery, Bristol • City Museum & Art Gallery, Plymouth • Contemporary Art Society, London • Cornwall County Education Committee • Exeter University • Falmouth Art Gallery, England • Ferens Art Gallery, Hull • Fitzwilliam Museum, Cambridge • Glasgow University • Gulbenkian Foundation, London • Government Art Collection, London • Huddersfield Art Gallery • Leeds City Art Gallery • Leicestershire County Education Committee • Manchester City Art Gallery, England • National Galleries of Scotland, Edinburgh • National Museum of Wales, Cardiff • Northampton Museums & Art Gallery • National Portrait Gallery, London, UK • Norwich Museums, England • Peter Scott...

Vintage abstract composition in shades of red, orange, hazelnut, mustard yellow, ivory, and brown. Original woodcut print by mid-century woman artist, Hildegarde Haas (1926-2002). "P...

2009 Thirty-one color ukiyo-e woodcut 25 1/4 x 37 1/4 in. (64.1 x 94.6 cm) Edition of 50 Signed, dated and numbered in pencil Unframed, pristine condition