Jennifer Bartlett

Graceland Mansion

1978-79

Jennifer Bartlett Earth, 1992 Etching, soft ground and aquatint 33 1/4 x 33 inches Edition of 80

Barchman Green Portfolio, 1986 Suite of five etchings 31 x 22 1/2” each ed. 25 Framed

Richard Tuttle Metal Shoes 4, 2010 Aquatint, hand stencling, copper plate embossment 11 3/4 x 12 ed. 30 Framed

Mary Weatherford The Robot, 2018 Spit bite aquatint on gampi paper chine collé 35 1/4 x 28 1/2 in (89.5 x 72.4 cm) Edition of 25

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...

"Travelers" is a work that displays Richard Jacobs early Balinese influence. This abstract work made with drypoint etching manifests a layer of depth and contrast that is achieved through an Indonesian technique of drawing the lines of the resist or printing it with a copper stamp that allows an artisan to selectively color the work through the soaking process. "Travelers" is exemplary of this earlier aquatint process before Jacobs would go on to apply a diversity of colors to his work. The print is 39 x 29 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 16 as there are multiple prints in the possession of Collected Detroit...

"Holiday" is a work that displays Richard Jacobs early Balinese influence. This abstract work made with drypoint etching manifests a layer of depth and contrast that is achieved through an Indonesian technique of drawing the lines of the resist or printing it with a copper stamp that allows an artisan to selectively color the work through the soaking process. "Holiday" is exemplary of this earlier aquatint process before Jacobs would go on to apply a diversity of colors to his work. The print is 39 x 29 inches and is signed and numbered from an edition of 30 by the artist. Numbered edition may not necessarily be number 17 as there are multiple prints in the possession of Collected Detroit...

Portfolio with complete text, 5 drypoint prints with etching and aquatint and numerous illustrations on Rives BFK. The sheets are loose as issued and in superb condition. One from a ...