Richard Smith Art

Richard Smith Bramble, 1970 Lithograph on wove paper Signed, numbered and dated 10/75 in pencil lower left Frame included: held in original vintage period frame Pencil signed, dated ...

This dynamic and abstract original poster by Richard Smith, created for the 1972 Munich Olympic Games, embodies the vibrant energy and modern aesthetic that defined one of the most v...

Richard Smith On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove pa...

Richard Smith 1931-2016 Horizon II (Grey and Orange), 1970 lithograph 33 x 71 cm 13 x 28 in signed and numbered from the edition of 75 in pencil Charles Richard "Dick" Smith was an ...

Sun Curtain by Richard Smith, 1971 Additional information: Medium: lithograph on two sheets 64 x 92 cm 25 1/4 x 36 1/4 in signed and dated in the plate Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Edition of 60, Set of 5 74.9 x 56.5 cms (29.5 x 22.25 ins)

Richard Smith 1931-2016 Horizon V (Peach, Yellow & Green), 1970 lithograph 33 x 71 cm 13 x 28 in signed and numbered from the edition of 75 in pencil Charles Richard "Dick" Smith wa...

Edition of 50 60.3 x 61 cms (23 3/4 x 24 ins)

Richard Smith Chocolate Box II (blue / pink) 1977 Lithograph, Edition of 70 70 x 70 cms (27 1/2 x 27 1/2 ins) RSE067

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 ...

Edition of 35 48 x 100 cms (19 x 39.5 ins)

Edition of 25 50.8 x 50.8 cms (20 x 20 ins)

Edition of 50 66 x 57 cms (26 x 22 1/2 ins)

Edition of 30, Set of 5 74.9 x 59.1 cms (29 1/2 x 23 1/4 ins)

Richard Smith, British (1931-2016) Untitled (Abstract Composition) (1976) Gouache, crayon, charcoal and metal staples on Arches paper Hand signed lower center sheet: 22 x 22 inches ...

3-D sculpted multiple (to be hung on the wall) by British Pop Art pioneer Richard Smith: Richard Smith D from Logo Suite (Magenta), 1971 Silkscreen on 3-D Molded Plastic Over Wood P...

Richard SMITH Colors on Podium Lithograph Signature printed in the plate On heavy paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic Games in Munich, 1972 Excellent condition

Richard Smith Signature, 1997 Etching and Aquatint 22 3/4 × 18 inches Edition 17/25 Signed and numbered 17/25 in graphite on the lower front RICHARD SMITH BIOGRAPHY Charles Richard ...

This large, vibrant work exemplifies Richard Smith’s mastery of early British Pop Art, showcasing his iconic interlocking red shapes and joyful use of color and abstract form. Richa...

Artist: Richard Smith, CBE (1931-2016) British Title: Untitled Abstract Grid Date: 1972 Medium: Serigraph (screenprint) Sheet size: 29.5 in x 22 in Framed size: 36.75 x 28.25 inches ...

Florentine 2 by Richard Smith, 1973 Additional information: Medium: lithograph on heavy wove paper, with carbon tracing paper and plastic strings 19 3/4 x 27 1/2 in 50 x 70 cm signed, dated and numbered 46/75 in pencil Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Artist: Richard Smith, British (1931 - 2016) Title: Times Square Remembered 3 Year: 1973 Medium: Lithograph, Screenprint, and Collage, Signed and numbered in pencil Edition: 42 Size:...

Edition of 75, Set of 6 33 x 71 cms (13 x 28 ins)

Artist: Richard Smith, British (1931 - 2016) Title: Munich Olympics 1972 Year: 1971 Medium: Lithograph with Collage, Signed and numbered in Pencil Editi...

Edition of 50 51 x 51 cms (20 x 20 ins)

70 x 76.2 cms (27 1/2 x 30 ins) Edition of 80

Edition of 70 70 x 70 cms (27 1/2 x 27 1/2 ins)

Richard Smith (British 1931-2016) Envelope No.1 1968 Aluminum Wall Sculpture 16 x 16 x 16-inch, triangle shape, by 2 ½ inches wide Signed and dated ‘68 Numbered edition 10/30 Abo...

Edition of 60, Set of 5 74.9 x 56.5 cms (29.5 x 22.25 ins)

Richard Smith Untitled (lavender green), 1992 Acrylic and pastel on paper and foam core 22 1/2 x 22 1/2 inches (sheet) 23 x 23 inches (frame) Signed and...

Edition of 40 77.5 x 58.5 cms (30.5 x 23 ins)

71 x 71 cms (28 x 28 ins) Edition of 50

70 x 70 cms (27 1/2 x 27 ins) Edition of 70

Interval by Richard Smith, 1969 Additional information: Medium:lithograph in six colours on three sheets 15 3/4 x 15 in 40 x 38 cm signed and numbered 18/75 in pencil; titled and in...

Edition of 75, Set of 6 33 x 71 cms (13 x 28 ins)

70.5 x 70 cms (27 3/4 x 27 1/2 ins) Edition of 80

Edition of 60, Set of 5 74.9 x 56.5 cms (29 1/2 x 22 1/4 ins)

100.7 x 46.3 cms (40 x 18 1/4 ins) Edition of 90

Edition of 50 66 x 57 cms (26 x 22 1/2 ins)

Edition of 60 71 x 79 cms (28 x 31 ins)

Edition of 40 77.5 x 58.5 cms (30 1/2x 23 ins)

Edition of 50 71 x 76 cm (28 x 30 ins) RSE023

Edition of 50 76 x 76 cms (30 x 30 ins)

Edition of 35 48 x 100 cms (19 x 39.5 ins)

71 x 71 cms (28 x 28 ins) Edition of 80

Edition of 50 51 x 51 cms (20 x 20 ins)

70 x 72 cms (27 1/2 x 28 1/2 ins) Edition of 70

Edition of 50 58.5 x 79 cms (23 x 31 ins)

Edition of 25 44.5 x 44.5 cms (17 1/2 x 17 1/2 ins)

Edition of 30, Set of 5 74.9 x 59.1 cms (29 1/2 x 23 1/4 ins)

Edition of 75 51 x 71 cms (20 x 28 ins)

70.5 x 77.5 cms (27 3/4 x 30 1/2 ins) Edition of 80

70 x 76.2 cms (27 1/2 x 30 ins) Edition of 50

Edition of 40 77.5 x 58.5 cms (30.5 x 23 ins)

Edition of 40 77.5 x 58.5 cms (30 1/2 x 23 ins)

Edition of 25 45 x 45 cms (17.5 x 17.5 ins)

Edition of 25 45 x 45 cms (17.5 x 17.5 ins)

Edition of 25 45 x 45 cms (17.5 x 17.5 ins)

Etching, Edition of 25 45 x 45 cms (17.5 x 17.5 ins)

Etching, Edition of 25 45 x 45 cms (17.5 x 17.5 ins)