Saint Clair Cemin Art

Black and white figurative abstract lithograph of two naked, crouching figures by California artist "Rico Lebrun," titled "Crouching Figures" and dated 1961. Additional writing on th...

Joan Miro (Spain, 1893-1983) 'Maravillas con variaciones acrósticas en el jardín de Miró (cobertura para el estuche)', 1975 lithograph on canvas 21.5 x 32.25 x 21 in. (54 x 82 cm.) Edition of 1500 Unframed ID: MIR2001-014 It is documented in Cramer, P (1992). Miró Litographer V (1972-1975). Maeght Éditeur, pp 162-163. No. 1051. Artwork history: At the end of 1971 Rafael Alberti wrote from Rome to Joan Miró in the following terms “(…) I think I have news that you liked my folder...

Artist: Salvador Dali Title: Plate X, from Les Songes Drolatiques de Pantagruel Medium: Lithograph in colors on Japon paper Year: 1973 Edition: 209/250 Sheet Size: 29 3/4" x 21" Imag...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 10" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

This color lithograph is part of my private collection since the 1970's. Marie Raymond was a pioneer post WWII painter of her generation. She was a lyrical abstractionist of her time...

Richard Serra (American, B. 1938) Stop B S (G. 2024), 2004. From the portfolio 'Artists Coming Together' Lithograph on wove paper Signed in pencil and numbered 127/250 (there were al...

Alvar Sunol Pencil Signed Lithograph C.1970s Three women around a table Dimensions 21.5" wide x 12.5" high The frame measures 32.75" wide x...

Construction d’un temple – Plate n. 3  is a b/w original etching realized in 1973 (as reported on plate on the lower right margin) by Paul Delvaux. From the collection “ Construction d’un temple en ruine à la déesse Vanadé ”, this wonderful original print   came into being from the collaboration of four years between the French author and a member of the Nouveau-Roman , Alain Robbe-Grillet (1922-2008), and the Belgian artist Paul Delvaux (1897-1994). At first, Robbe-Grillet wrote a text, to which Delvaux then replied with a wonderful engraving; Robbe-Grillet then responded with a second text. This is how the building blocks of this beautiful book came together: it was constructed like a temple.  The book was printed in an edition of 187 copies, of which  only 40 contain the illustrations by Paul Delvaux .  Our copy is unnumbered and printed on  “Arches”  ivory colored paper with the  Bateau Lavoir watermark  (on the lower right corner), and  “Richard Bas ” watermark (on the lower left margin). This beautiful artwork, representing an enigmatic composition with seven women realized like ancient Greek marble...

This is a rare print, #46 in an edition of 96 that Gwendolyn (Gwen) Knight created while visiting Philadelphia's Brandywine Workshop with her late husband, the artist Jacob Lawrence. It is signed, titled, and dated along the lower edge. The print itself measures 22" x 30" and is professionally framed in a contemporary dark wood frame with muted green and gold double mats under UV protective glass. Framed measurements are 29.5" x 38". This print can also be found in the permanent collections of: - Washington State Arts Commission - Telfair Museums - David Driskell Center, University of Maryland - Seattle Art Museum and many private collectors. Gwendolyn Knight was born in Barbados in 1913. When she was seven, her widowed mother entrusted her to close friends who brought her with them to the United States. In 1926, Knight moved with her foster family from their first home in St. Louis to Harlem, where her developing interest in the arts flowered in the creative atmosphere of the Harlem Renaissance. In Harlem, Knight became a daily participant in the workshop of sculptor Augusta Savage, in whom Knight found a mentor, and Savage's studio became a second home. Through Savage, Knight first came into contact with Claude McKay...

Construction d’un temple – Plate n. 10  is a  b/w   original etching  realized in 1973 (as reported on plate on the lower right margin) by Paul Delvaux. From the collection “ Constr...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Etching and drypoint realized to illustrate Pierre Ronsard's "Les Amours de Cassandre". Published by Argillet, Paris, in 1968. Edition of 299 pieces. One of 165 specimen on Arches ...