Jannis Kounellis Mixed Media

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

Damien Hirst Butterfly Heart (Small) H7-4, 2020 Laminated Giclée print on aluminium composite panel in original publisher's packaging Signed by Damien Hirst & numbered 1483/3510 on t...

Alan Shields Treasure Rute I, 1979 Relief, stamping, linocut, collage on handmade paper Titled, numbered, signed, and dated Treasure Rute I 1/11 Alan Shields 1979 on the bottom front...

Mario Ceroli (Italian, 1938-) Untitled c. 1970 Wood collage on paper Cut wood attached to paper, depicting multiple figures facing each other. Hand signed and numbered to lower right 'Ceroli prova d'artista'. This work is an artist's proof. (not sure of edition) Dimensions: Framed 35.5 x 47.5. sheet 27.25 x 39.5 Provenance: Basel Art Fair, 1976 CDS Gallery, New York (bears label verso) Exhibited: Emilio Cerolli, 1976, Sala Funacion Mendoza, Caracas, Venezuela, An International Scene, 20 September - 20 December 2003, CDS Gallery, New York Mario Ceroli, born 1938 in Castel Frentano, Province of Chieti, Italy Mario Ceroli is an Italian sculptor. His work has been exhibited at the Museum of Modern Art in New York City and the Mississippi Museum of Art in Jackson, Mississippi. Ceroli is one of the most influential artists of the Italian post-war period. Ceroli moved to Rome at the age of ten where he later graduated from 'Accademia delle Belle Arti'. At the Art Institute he worked under the guidance of Leoncillo Leonardi, Pericle Fazzini and Ettore Colla, where he experimented with the use of ceramic. In 1958, he first exhibited these works at the Premium Spoleto. In the same year Ceroli held his first solo exhibition at Galleria San Sebastianello of Rome. During 1959 he began to experiment with new materials, particularly with raw wood, such as Russian pinewood. He used these materials to create silhouetted shapes in his furniture and objects that related simplistically to the surrounding space. In the 1960's Ceroli took part in exhibitions related to the "Arte de Povera" group. He had also been involved as screenplay director collaborating with "II Teatro Stabile" in Turin and with "La Scala" In Milan. He was part of the generation of Italian post war artists that included Aligliero Boetti, Lucio Fontana, Alberto Burri, Pino Pascali, Piero Manzoni, Enrico Castellani, Arnaldo Pomodoro, Michelangelo Pistoletto, Mimmo Rotella, Emilio Vedova. One of Ceroli's major works was his 'Mobili nella Valle' series, inspired directly by the Giorgio De Chirico 1927 painting...

Sam Gilliam Cuatro, 1994 Monoprint with screenprint, collage, acrylic, stitching and embossing in colors on handmade paper Hand signed, dated, titled and annotated P/P by Sam Gilliam...

Jamie Nares When the Language was Young, 2010 Lithograph in red on polymer Pencil signed, dated and numbered 13/50 lower front Lithograph in red on acrylic Pencil signed, dated and ...

Created as a one-off limited edition; exact number unknown, but scarce collectible: David Hockney The Rake's Progress, 2019-2020 Fine Bone China finished with platinum gilding in ele...

Stanley WIlliam (Bill) Hayter Meduse, 1958 High Viscosity Etching & Engraving Pencil signed, titled and numbered from the edition of 50 (10/50) on th...

Frank Stella (Whitney Museum Exhibited) Shards IVA (Axsom 151), 1982 Lithograph & Silkscreen on Arches Cover Paper (Whitney Museum exhibition label verso of frame) 45 1/2 × 39 1/4 in...

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...

Alan Shields Lonely Night, 1969 Screenprint and Pochoir with collage on perforated paper Pencil signed, numbered and dated from the limited edition of 100 Unframed Mixed media colla...

Richard Smith Seven from Logo Suite (Pink Blue), 1971 Silkscreen on 3-D Molded Plastic Over Wood Pencil signed, dated and numbered 65 from the edition of 75 on the front 23 1/2 × 19 ...