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Senior & Shopmaker Gallery
SENIOR & SHOPMAKER GALLERY Winter Selections: Prints and Drawings January 18-March 2, 2019 ROY LICHTENSTEIN (American, $24,000 1923-1997) YELLOW BRUSHSTROKE, 1985 2-color photoetching on Rives BFK (Corlett #209) Paper size: 31 x 19.875 inches 78.7 x 50.5 cm Image Size: 23 7/16 x 12 13/16 inches JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1979 mixed adhesive plastics on graph paper (JP1901) Paper size: 17 x 22 inches (43.2 x 55.9 cm) JUDY PFAFF (British-American, b. $18,000 1946) UNTITLED, 1980-81 mixed adhesive plastics on paper (JP1902) 17 x 22 inches (43.2 x 55.9 cm) Frame size: 24 5/8 x 29 1/2 inches (62.5 x 74.9 cm) AL HELD (American, 1928-2005) $34,000 HUDSON 12, 1989 watercolor on paper 22 1/2 x 27 3/4 inches (57.2 x 70.5 cm) Frame size: 28 x 35 inches (71.1 x 88.9 cm) 210 ELEVENTH AVENUE · 8TH FLOOR · NEW YORK NEW YORK 10001 TEL 212 213 6767 · FAX 801 640 2408 [email protected] · WWW.SENIORANDSHOPMAKER.COM LEON POLK SMITH (American, 1906 $7,500 -1996) COLOR FORMS (A), 1974 screenprint Paper size: 33 x 23 1/4 inches (83.8 x 59.1 cm) Frame size: 35 3/4 x 26 1/8 inches (90.8 x 66.4 cm) SEAN SCULLY (Irish, b. 1945) $18,000 ROOM, 1988 etching, drypoint, aquatint, soapground aquatint, spitbite aquatint, crayon resist 41 3/4 x 50 3/4 inches (106 x 128.9 cm) Image Size: 31 3/4 x 41 3/4 inches (80.6 x 106 cm) MICHAEL CRAIG-MARTIN (Irish, b. -
The School of Paris Catalogue
THE SCHOOL OF PARIS 12 MARCH - 28 APRIL 2016 Francis Bacon (1909 - 1992) Title: Woodrow Wilson, Paris, 1919, from Triptych (1986-1987) Medium: Original Etching and aquatint in colours, 1986/8, on wove paper, with full margins, signed by the artist in pencil Edition: 38/99 - There were also 15 Hors Commerce copies There were also 15 artists proofs in Roman numerals. Literature: Bruno Sabatier, "Francis Bacon: Oeuvre Graphique-Graphic Work. Catalogue Raisonné", JSC Modern Art Gallery, París 2012 Note: The present work is taken from an old press cutting of Woodrow Wilson in Paris for the Peace Conference of 1919. It was originally part of a triptych of works which included a study for the portraits of John Edwards and a Photograph of Totsky studio in Mexico in 1940. Woodrow Wilson (1856 - 1924) was the 28th President of the United States, elected President in 1912 and again in 1916. Published by: Editions Poligrafa, Barcelona, Spain Size: P. 25½ x 19¼ in (648 x 489 mm.) S. 35¼ x 24½ in. (895 x 622 mm.) George Braque (1882 - 1963) Title: Feuillage en couleurs Foliage in colours Medium: Etching in colours, circa 1956, on BFK Rives watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PRESSES DUTROU PARIS" Size: Image size: 440 x 380 MMS ; Paper size 500 X 670 mms Edition: XVI/XX Publisher: The Society des Bibliophiles de France, Paris Note: There was also a version of this in Black and White which was possibly a state of our piece (Vallier 106) Reference: Dora Vallier “Braque: The Complete Graphics” Number 105 after George Braque (1882 - 1963) Title: Les Fleurs Violets Bouquet des Fleurs Medium: Etching and Aquatint in colours, circa 1955/60, on Arches watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PARIS" Size: Image size: 19 in x 11 5/8 in (48.3 cm x 29.5 cm) ; Paper size 26 in x 19 3/4 in (66 cm x 50.2 cm) Edition: 92/200 - There was also an edition of 50 on Japan paper. -
ROBERT RAUSCHENBERG a W I N G S F R O M T H E 1 9 6 0 S
Transfer Drawings from the 1960s Drawings from Transfer ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s FEBRUARY 8– MARCH 17, 2007 41 EAST 57TH STREET, NEW YORK, NY 10022 FOREWORD For me, a roomful of Robert Rauschenberg's “Transfer” drawings from the 1960s evokes a powerful sense of dèjà vu. It's a complicated flash from the past, dense with images and newspaper headlines drawn from the events of the time. Saturn 5 rockets, Apache helicopters, ads for spark plugs, photos of astronauts mix with pictures of motorcycles, flashcubes, wristwatches and razor blades, all taken out of their original contexts and reworked into a web of startling new associations by an artist with a keen sense of popular history heightened by irony and a profound wit. Rauschenberg is like a mollusk in the sea of time, filtering and feeding upon everything that passes through his awareness and transforming it to suit his own ends, like an oyster secreting a pearl. He selects images from popular media as signifiers—telling icons of who we Americans are as a people, a nation and a culture. And the new linkages he creates make us question our assumptions about our identity: where did we come from, what do we really care about, where are we going? Rauschenberg's smart, deliberative art mirrors the American character: self-questioning and proud, defiant and wondering, but always hopeful. It is a great pleasure to re-familiarize the public with these drawings, important both artistically and historically. Many of them are being shown in the United States for the first time since they were originally exhibited in Paris at Galerie Ileana Sonnabend in 1968. -
Prints, Multiples & Photography
Prints, Multiples & Photography Lot 3601 – 3761 Auction: Saturday, 25 June 2016, 4pm Preview: Sat. 11 to Tue. 21 June 2016 Silke Stahlschmidt Jennifer Greenland Tel. +41 44 445 63 42 Tel. +41 44 445 63 46 [email protected] [email protected] Further editing: Jara Koller Due to layout reasons it may be possible that some sheet sizes are not fully illustrated. Please visit the online catalogue for untrimmed illustrations. The condition of the prints are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3601 HENRI DE TOULOUSE-LAUTREC (Albi 1864 - 1901 Malromé/Gironde) Douze Dessins. 1947. Portfolio with 11 (colour-)offsets. From an unknown edition. Varying image sizes on vélin min. 36.8 x 27.1 cm, max. 46.5 x 32.6 cm. Published by Holbein, Basel. Printed by Albert Carman, New York. In original folder. 1 sheet missing. CHF 700 / 900 (€ 650 / 830) 3601 3602 EDGAR DEGAS (1834 Paris 1917) Danseuse mettant son chausson. Circa 1892. Etching. From an unknown edition. Image 17.9 x 11.6 cm on vélin 32.7 x 24.9 cm. Catalogue raisonné: - Adhémar, no. 60. - Delteil, no. 36. - Reed/Shapiro, no. 55. CHF 800 / 1 200 (€ 740 / 1 110) 3602 | 3 Prints, Multiples & Photography 3603 ERICH HECKEL (Döbeln 1883 - 1970 Radolfzell) Schlafender Knabe. 1963. Drypoint. 61/100. Signed and dated lower right: Heckel 63. Image 25 x 20 cm on vélin 50 x 38.5 cm. Published and prin- ted by Erker-Presse, St. Gallen (with the blindstamp). -
An Overview of Art Paper Supply in Melbourne from 1940-1990
An overview of art paper supply in Melbourne from 1940-1990 Louise Wilson ABSTRACT The history of art paper supply in Melbourne encompasses the collective stories of artists, suppliers and paper mills based in Australia and overseas. In the late 1930’s, when the range of papers available to Melbourne artists was just beginning to expand, World War II abruptly interrupted supplies. The end of the war saw the rebirth of the industry at the hands of returned serviceman, Norman Kaye when he opened Camden Art Centre in 1948. The 1960’s saw a number of new suppliers emerge including N.S. Eckersley’s Pty Ltd, Art Stretchers and Graeme Brown Papers Pty Ltd. These enterprises brought with them new papers including the Arches range from France but as was the case throughout the 19th and early 20th Century, most of the paper available was designed specifically for watercolourists. Melbourne Etching Supplies was founded in the 1970’s with a vision to service the diverse needs of Melbourne’s printmakers, including providing them with a range of interesting and high quality papers. The choice of printmaking papers available to local artists expanded once again in the 1980’s when printmaker Robert Jones became the Australian agent for Magnani Papers. By the 1990’s a vast array of art paper was available to Melbourne artists in a kaleidoscope of colours and paper choice became more about personal preference than availability. KEYWORDS paper importation, art paper, Australian paper history INTRODUCTION This study documents the availability of art papers in Melbourne from 1940-1990, from the period of Modernism through to the contemporary art of the 1980’s, focussing particularly on the suppliers operating and the type of paper they were stocking. -
Arches® Infinity™ Museum Quality Digital Photo & Fine Art Inkjet Paper
PRODUCT APPLICATIONS GUIDE ARCHES® INFINITY™ MUSEUM QUALITY DIGITAL PHOTO & FINE ART INKJET PAPER Overview Arches Infinity is fine art paper for digital printmaking. It is mould-made, acid-free, lignin-free, 100% cotton with a proprietary coating designed specifically for fine art and fine photographic prints made on inkjet printers using pigment-based or dye-based inksets. The paper offers maximum color gamut with true color fidelity, exceptional image permanence, and universal printer compatibility. It is museum quality, which means images created on Arches Infinity will last for generations. Physical Properties Basis Weight 230 g/m2 (6.7 oz/yd2) Basis Weight 355 g/m2 (10.4 oz/yd2) Smooth Finish: Smooth Finish: Caliper: 17 mils ± 1 (425 microns) Caliper: 24.5 mils ± 1 (612.5 microns) Textured Finish: Textured Finish: Caliper: 19 mils ± 1 (475 microns) Caliper: 28 ± 1 mils (700 microns) Whiteness: 90 Whiteness: 90 pH value: 7 (Tappi method T509) pH value: 7 (Tappi method T509) Printer Compatibility Arches Infinity paper is universally compatible with most thermal and waterbased piezo printers. It is recommended that the user consult their printer's manual for instructions and settings for feeding heavy-weight papers. Check printer specifications to insure that your printer is capable of handling paper of the caliper (thickness) of Arches Infinity. Ink Compatibility Arches Infinity paper is compatible with both dye-based and pigment-based inks. Pigment- based inks, which enhance image permanence through improved light fastness, require paper with an inkjet receptive coating that can accept heavier ink loads without mottling. Arches Infinity addresses this requirement. -
A Resource Guide to New York City's Many Cultures
D iv e r C it y : A Resource Guide to New York City’s Many Cultures New York City 2012 DiverCity: A Resource Guide to New York City’s Many Cultures Table of Contents I. Museums and Cultural Institutions A. Art Museums Page 1 B. Historical and Cultural Museums Page 7 C. Landmarks and Memorials Page 12 D. Additional Cultural Institutions Page 15 II. Cultural/Community Organizations and Associations Page 18 III. Performing Arts Centers and Organizations Page 22 IV. College/University Cultural Departments and Potential Speakers Page 25 Mu s eu m s a nd Cu l t u r a l In s ti t u ti o n s “We have become not a melting pot but a beautiful mosaic. Different people, different beliefs, different yearnings, different hopes, different dreams." - Jimmy Carter, 39th President of the United States 1 A) ART MUSEUMS Name Address Phone/ Website Admission Information Description American 2 Lincoln (212) 595-9533 FREE at all times The American Folk Art Museum is the Folk Art Square at leading center for the study and Museum 66th St. Folkartmuseum.org Hours: Tues-Sat enjoyment of American folk art, as well 12:00PM-7:30PM; Sun as the work of international self- taught 12:00PM- 6:00PM artists. Diversity in programming has become a growing emphasis for the museum since the 1990s. Major presentations of African- American and Latino artworks have become a regular feature of the museum's exhibition schedule and permanent collection. Asia Society 725 Park Avenue at (212) 288-6400 FREE Fridays 6-9PM The Asia Society is America's leading 70th Street institution dedicated to fostering Asiasociety.org Price: $10 Adults; $7 understanding of Asia and Seniors; $5 Student ID communication between Americans FREE children under 16 and the peoples of Asia and the Pacific. -
STATE: Obvious / Not So (Selected Works, 1973–Present) Dan R
STATE: Obvious / Not So (selected works, 1973–present) Dan R. Talley STATE: Obvious / Not So (selected works, 1973–present) Freedman Gallery Reading, Pennsylvania January 28 – April 9, 2020 Foreword • I first became aware of and met Dan Talley about 15 years ago through our mutual friend, Becky Powell, whom I worked with at the Burchfield Penney Art Center, Buffalo, NY. After meeting, I did some research and realized the many contributions Dan has made to the art world as a writer, curator, educator, and artist. So, shortly after my arrival at Albright in 2011, I reconnected with Dan, and since then, have been thinking that, one day, the Freedman Gallery should present a comprehensive exhibition of his work. Catalogue published to accompany the solo exhibition of Dan R. Talley, STATE: Obvious / Not So That day has finally arrived and the Freedman Gallery is pleased to present a selection of his work. (selected works, 1973–present) at the Freedman Gallery, Albright College, Reading, Pennsylvania, January 28 – April 9, 2020. As a former gallery director and arts writer, Dan co-founded several arts organizations, including Art Papers Magazine, Atlanta, GA, and Real Art Ways, Hartford, CT. His writings have appeared in several Albright College books, dozens of exhibition catalogues, and his reviews have been published in Sculpture Magazine, Ceramics 13th & Bern Streets P.O. Box 15234 Monthly, and various newspapers. His photography, videos, drawings and installations have been featured in solo Reading, PA 19612-5234 and group exhibitions in museums and galleries across the U.S. and abroad. Talley’s recent work continues his long-standing interest in Conceptualism and Minimalism. -
The Complete Prints 1980~2018 Sarah Brayer
Sarah Brayer The Complete Prints 1980~2018 Sarah Brayer Sarah Brayer is an American artist based in Kyoto, Japan. This catalogue raisonné documents Sarah’s earliest print editions – from 1980, when she first arrived in Kyoto – to her current work. It is arranged with the most recent prints at the beginning, moving back in time to the earliest black and white etchings. Sarah is internationally known for her large-scale, poured washi paperworks and aquatint prints. Japan’s Ministry of Culture awarded her its Bunkacho Chokan Hyosho (Commissioner of Culture Award) in 2013 for interna- tional dissemination of Japanese culture through her unique creations in Echizen washi. Drawn to Japanese art through raku-style ceramics and the aquatints of Mary Cassatt, Sarah embarked on printmaking in London in 1978. Her first etchings were printed on ceramics. The following year she received her B.A. in Art (honors in printmaking) from Connecticut College and within months left on a backpacking journey to Japan. Entranced by Kyoto, Sarah began making black and white aquatints of her Kyoto environs. The plates were etched in her tiny apartment and printed at the studio of Yoshiko Fukuda (1930-82) who introduced her to the Kyoto Etching Group. In 1981 she purchased a second-hand etching press. Artists Brian Williams and Daniel Kelly invited her to paint together on location, and join in a group exhibition. Sarah had her first solo exhibition in Kyoto in 1983, quit her English teaching jobs, and devoted herself to art full-time. Her first show in NYC was in 1985 at Ronin Gallery. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title “Pieces of Old Clothing or Even Viler Things”: The Utilization of Paper in Jewish and Christian Books in Medieval Italy and Iberia, a Quantitative Approach Permalink https://escholarship.org/uc/item/8pw186b0 Author Geller, Stephanie Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Pieces of Old Clothing or Even Viler Things”: The Utilization of Paper in Jewish and Christian Books in Medieval Italy and Iberia, a Quantitative Approach A thesis submitted in partial satisfaction of the requirements for the degree of Master of Library and Information Science by Stephanie Geller 2019 © Copyright by Stephanie Geller 2019 ABSTRACT OF THE THESIS ‘Pieces of Old Clothing or Even Viler Things’: the Utilization of Paper in Jewish and Christian Books in Medieval Italy and Iberia, a Quantitative Approach by Stephanie Geller Master of Library and Information Science University of California, Los Angeles, 2019 Professor Ellen Pearlstein, Chair Culture is often proposed as a determinant factor in the decision to use paper as a material support for medieval manuscripts. Specifically, scholars frequently assert that European Jews were more willing to adopt paper as a support than Christians. However, the scholarly field has yet to consider an exhaustive quantitative comparison to support this claim. This study utilizes a quantitative codicological method to infer whether paper usage was truly influenced by cultural factors in Medieval Italy and Iberia. In so doing, this paper also evaluates the extent to which quantitative research can be done using digital resources from cultural institutions with holdings relevant to the geographic and temporal areas of interest to this research. -
Materials List
1 Margie Samuels Artist and Instructor 17 Boxwood Drive, West Caldwell, NJ 07006 973.403.9374 website: www.margiesamuelswatercolor.com email: [email protected] Watercolor Fall, 2015 Materials List I have listed below materials that you will need for this watercolor class. Some of these things you will have to purchase in an art supply store; others are common things you have around the house. For those of you who have painted before, by all means, USE WHAT YOU HAVE---even if you have another brand or color from what I specified. I recognize that art supplies can be expensive; however, if you have questions about whether or not you should replace an item, email me. The art store items on my list are available at Cheap Joe’s (1-800-227-2788, or www.cheapjoes.com), and I have included the Cheap Joe’s item number next to most of these things. Cheap Joe’s also has a copy of this Materials List, and they can help you with the purchase of any items you need. However, you are free to shop in any art supply store that you wish. Even if you have painted with me before, review this Materials List carefully because I do make some changes to it each year. Make sure you look over the paint colors. I have Required colors that you should have on your palettes; you will need these colors to complete the painting projects that I have planned for you. There are Optional colors that I call “would be nice to have…” colors; you needn’t have these for a successful painting but, they might be a nice extra when you are ready to invest in your art. -
Judy Morris Painting Should Be Fun / GWG Workshop/May 29-31, 2019 Judymorrisaws.Com
Judy Morris Painting Should Be Fun / GWG Workshop/May 29-31, 2019 judymorrisaws.com Day 1: Judy Morris is a retired high school Art Teacher. She has an identical twin sister named Jacque, who also paints and was her assistant for our workshop. Judy at first resisted the idea of working with watercolor until it offered the path of least resistance for finishing up her master’s degree. She found that she not only liked watercolor, but she became obsessed with it. Ever since that time she has been painting in watercolor, teaching, experimenting and creating. Watercolor Basics: Light ISBN 0-89134-963-4 / c 2000 On her journey of discovery in experiencing watercolor, she wanted to be as economical as possible. After being told that she could not use the children’s’ Prang Watercolor, she started out with just 5 colors. She now paints with Winsor Newton and Daniel Smith watercolor paints. She prefers not to complicate things by using any other brands. Her favorite color is Winsor Red. Her most often used color is Yellow Ochre. Daniel Smith Undersea Green is the only tube green she likes. It is a mixture of French Ultramarine Blue and Quinacridone Gold. She knows that the Daniel Smith Quinacridone colors are transparent. Judy told us that the dry colors on your palette that can be identified and named when you look at them are the opaque colors, such as Yellow Ochre, Winsor Red, Indian Red, Cerulean Blue. If you make a line of India Ink down the page and make a brushstroke of pigment across the dry ink, you will find that the transparent colors will disappear across the line of ink and the opaque colors will show up on top of the line.