Fragile | PLANTHOUSE July 3, 2020

Total Page:16

File Type:pdf, Size:1020Kb

Fragile | PLANTHOUSE July 3, 2020 Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Mildred Beltré Noah Breuer Skin in the Game (Up), 2019 Swing Girl Terrycloth, 2019 Walnut ink and digital print 2019 Kiln Formed Glass 22 x 30 inches 17 x 20 x 1 inch $1,500 $1,600 Mildred Beltré Skin in the Game (Reverse), 2019 Walnut ink and digital print Noah Breuer 22 x 30 inches $1,500 Red Tablecloth, 2019 Kiln Formed Glass 15 x 13 x 13 inches $2,000 Mildred Beltré Skin in the Game (Away), 2019 Walnut ink and digital print 22 x 30 inches Noah Breuer $1,500 Spring Green Placemat, 2019 Kiln Formed Glass 17 x 20 x 1 inch $1,600 Anders Bergstrom June 2020 Number 7, 2020 Victoria Burge Monotype and relief printing on Notation 8, 2018 Akatosashi hand-printed and folded Pencil and gesso on sheet music 3 1/8 x 2 x 1 1/2 inches 8.5 x 8 inches $1,500 $800 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Victoria Burge Greg Foley Notation 12, 2019 Ashoka (after Ettore Sottsass), 2019 Pencil and gesso on antique graph paper Dye sublimation on aluminum 12.5 x 10 inches 24 x 24 inches, circular $1,200 Edition of 3 $2,500 Louise Eastman Greg Foley Dice 1/6, 2020 Cerchio (after Nathalie Du Pasquier), 2019 Monoprint on manila folder Dye sublimation on aluminum 17 1/2 x 12 inches 24 x 24 inches, circular Published by artist, Printed at Russel Edition of 3 Janis Studio, Brooklyn NY $2,500 $200 Louise Eastman Greg Foley Dice 2/5, 2020 Hilton (after Javier Mariscal), 2019 Monoprints on manila folders Dye sublimation on aluminum 17 1/2 x 12 inches 24 x 24 inches, circular Published by artist, Printed at Russel Edition of 3 Janis Studio, Brooklyn NY $2,500 $200 Simryn Gill Louise Eastman Channel, 2014 Dice 3/4, 2020 A photogravure printed by Lothar Osterberg Monoprints on manila folders 15 x 20 inches 17 1/2 x 12 inches Edition of 50 Published by artist, Printed at Russel $1000 Janis Studio, Brooklyn NY $200 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Valerie Hammond Matt Magee Bedlam 07, 2020 Fragment Flag, 2019 Watercolor on Japan paper Three-color Silkscreen on Rives BFK 17 x 21 inches 30 x 41 1/2 inches $2,400 Edition of 22 $2,500 Lothar Osterburg Morning Commute (After the Flood), 2018 Valerie Hammond Photogravure 11 x 11 inches on 16 x 15 inches Bedlam 14, 2020 Watercolor on Japan paper Edition of 7 17 x 21 inches $1,400 $2,400 Lothar Osterburg Valerie Hammond Suspension Bridge, 2004 Bedlam 17, 2020 Photogravure Watercolor on gampi paper 35 x 14 inches on 35 x 14 inches 18 x 25 inches Edition of 8 $2,400 $2,000 Ruth Lingen The Detachment, 2020 Lothar Osterburg Diptich on Zerkall Ingres paper The Old Wreck, 2004 25 x 38 inches Photogravure Edition of 6 23 x 17.25 inches on 23 x 17.25 inches $1,500 Edition of 8 $2,500 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Lothar Osterburg Wendy Small Tibetan Footbridge, 2003 Articles of Glass 1, 2020 Photogravure Silver gelatin print 33.75 x 23.25 inches on 11 x 14 inches Edition of 8 Open edition $2,800 $250 Wendy Small Articles of Glass 2, 2020 Lothar Osterburg Silver gelatin print Vietnamese Footbridge, 2002 11 x 14 inches Photogravure Open edition 23 x 29 inches on 30 x 35 inches $250 Edition of 10 $2,800 Lothar Osterburg Naho Taruishi Wreck of the Somerset, 2004 Iceberg, 2018 Photogravure Graphite on paper 23.5 x 34 inches on 23.5 x 34 inches 18 x 15 inches Edition of 8 $1,200 $3,500 Heather Watkins Janis Stemmermann Seeing Things (no. 34), 2015 LISTENING, 2020 Ink on linen Hign fire ceramic/food safe 15 x 15 1/2 inches 2 x 13 x 13 inches $1,100 $500 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET Fragile | PLANTHOUSE July 3, 2020 EXHIBITION CHECKLIST Heather Watkins Seeing Things (no. 43), 2015 Ink on linen 14 x 17 1/2 inches $1,100 Heather Watkins Seeing Things (no. 44), 2015 Ink on linen 14 3/4 x 18 3/4 inches $1,100 Heather Watkins Seeing Things (no. 46), 2015 Ink on linen 14 3/4 x 16 3/4 inches $1,100 55 WEST 28TH STREET NEW YORK, NY 10001 PLANTHOUSE.NET.
Recommended publications
  • Charles H. Cecil Studios Studio Handbook
    CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Fl o rence, 1998 CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Compiled by Marc Dalessio with contributions by Nicholas Beer, Brandon Soloff, Hazel Morgan, Patrick Graham, Scott Pohlschmidt, Lee Johnson, Greg Horwitch, and Charles Cecil. TABLE OF CONTENTS Introduction vi Introduction, history of the school, map of Florence, useful information, studio rules Drawing 13 Introductory notes, materials checklist, paper, media, additional materials, introduction to the sight size technique, Bargue drawings, suggested evening, drawing schedule Painting 23 Introductory notes, materials checklist, canvas, panel, grounds, size, stretcher bars, panels, drying oils, sun-thickened oil, volatile oils, balsams, siccatives, resins, varnishes, mediums, pigments, flesh palette, extended palette, grinding colors, brushes, palettes, painting basics, landscape painting basics, trouble shooting, glossary Reading 50 Silence and Slow Time by Charles Cecil Materials Addendum 54 Europe and the US Bibliography 57 And suggested reading Introduction A Brief History of the Studio This manual is intended as a companion guide to the drawing Charles H. Cecil Studios descends from the great Parisian and painting techniques taught over a four year course at Charles ateliers of the nineteenth century. The materials and methods H. Cecil Studios. For those not fortunate enough to be able to stay used today are, however, not the same as those which were the rule the full course, hopefully this booklet will assist you in in the studios of David or Gerôme. Many of the paintings from remembering your brief training in times of need. If nothing else, the last century have suffered from the use of materials we now the materials addendum at the end should help you to find the know to be impermanent and each teacher over the last two highest quality supplies when you return home.
    [Show full text]
  • The Glass Case Modern Literature Published After 1900
    The Glass Case Modern Literature Published After 1900 On-Line Only: Catalogue # 209 Second Life Books Inc. ABAA- ILAB P.O. Box 242, 55 Quarry Road Lanesborough, MA 01237 413-447-8010 fax: 413-499-1540 Email: [email protected] The Glass Case: Modern Literature Terms : All books are fully guaranteed and returnable within 7 days of receipt. Massachusetts residents please add 5% sales tax. Postage is additional. Libraries will be billed to their requirements. Deferred billing available upon request. We accept MasterCard, Visa and American Express. ALL ITEMS ARE IN VERY GOOD OR BETTER CONDITION , EXCEPT AS NOTED . Orders may be made by mail, email, phone or fax to: Second Life Books, Inc. P. O. Box 242, 55 Quarry Road Lanesborough, MA. 01237 Phone (413) 447-8010 Fax (413) 499-1540 Email:[email protected] Search all our books at our web site: www.secondlifebooks.com or www.ABAA.org . 1. ABBEY, Edward. DESERT SOLITAIRE, A season in the wilderness. NY: McGraw-Hill, (1968). First Edition. 8vo, pp. 269. Drawings by Peter Parnall. A nice copy in little nicked dj. Scarce. [38528] $1,500.00 A moving tribute to the desert, the personal vision of a desert rat. The author's fourth book and his first work of nonfiction. This collection of meditations by then park ranger Abbey in what was Arches National Monument of the 1950s was quietly published in a first edition of 5,000 copies ONE OF 10 COPIES, AUTHOR'S FIRST BOOK 2. ADAMS, Leonie. THOSE NOT ELECT. NY: Robert M. McBride, 1925. First Edition.
    [Show full text]
  • ISM WORKSHEET Template
    INDIAN SCHOOL MUSCAT SENIOR SECTION DEPARTMENT OF FINE ARTS CLASS: X PAINTING (049) WORKSHEET No. 7 THEORY Unit – II – (a) METHODS AND MATERIALS OF PAINTING – TOOLS Questions and Answers Very short Answer Type Questions Q. 1) What are the categories of materials of painting? Ans: The materials of painting can be broadly classified into 3 categories: (A) Tools (B) Surfaces and (C) Medium. Q. 2) Define the following (1) Tools of Art (2) Surfaces for painting (3) Eraser (4) Hand-held Sharpener (5) Paintbrush (6) Bristles (7) Ferrule (8) Crimp Ans-: (1) Tools of Art - Tools of art are the physical materials used to create the artwork which we see without leaving any mark on the surface. Further no part of the tool is supplied to surface. (2) Surfaces for painting - When we speak of a surface for painting we mean the surface which absorbs the paint or a colour. In other words, a surface is that part of a painting which receives colour on it. (3) Eraser - An eraser is an article of stationery that is used for removing marks from paper. Eraser is used to rub off a mistake made in a pencil drawing. (4) Pencil Sharpener - A pencil sharpener is a mechanical gadget used for sharpening pencils by shaving the casing and the core of the wooden pencil until it shapes the point. (5) Paintbrush- A paintbrush is a brush used to apply paint or sometimes ink to an underlying. ISM/CLASS X/ WORKSHEET NO.7/PAINTING/2020-21 (6) Bristles - Bristles are the hairy part of the brush which transfer paint onto an underlying surface.
    [Show full text]
  • Technical Drawing: Selecting Your Paper
    Published on L'atelier Canson (https://www.lateliercanson.com) Accueil > Technical drawing: Selecting your paper Retour à la liste d'articles [1] Technical drawing: Selecting your paper [2] Le matériel [5] Notez cet article Give Technical drawing: ? Selecting your paper 3/5 Taux Texture, format, thickness, grid: a wide range of paper, tracing paper and transparent film readily adapts to all your creations. 1. Grammage It conditions the paper's thickness and is measured as grams per square meter: fine papers (under 90 g/m²) are appropriate for sketching, intermediate (up to 200 g/m²), adapt to most kinds of work, thick (300 g and more) are designed for wet media such as watercolor. 2. Format It is standardized and comes in six formats: from A0 (1 (m)2), up to A5 (the smallest one). Each format represents half of the previous one. Most used are the two classics, A3 and A4. 3. Texture The quality of a technical drawing relies on perfect lines: opt for slightly textured paper, whether fine grained or satin finish, and even completely smooth, such as Bristol board. Memo: There?s a paper for every medium Graphite: white or slightly tinted (beige, ocher, gray?). Color pencils: fine grained to make the pigments hold. Markers: paper known as "layout" paper holds ink and limits smudges. 4. Graph paper Technical drawing implies high precision. Choose it taking your subject's constraints into account. White drawing paper and Bristol board are available as graph paper. The covers of "to scale" pads of tracing paper come as 5 mm grid charts.
    [Show full text]
  • TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector
    TECHNICAL REPORT – PATENT ANALYSIS Enhancing Productivity in the Indian Paper and Pulp Sector 2018 TABLE OF contEnts ACKNOWLEDGEMENTS 10 EXECUTIVE SUMMARY 11 1 INTRODUCTION 13 2 OVERVIEW OF THE PULP AND PAPER SECTOR 15 2.1. Status of the Indian Paper Industry 15 2.2. Overview of the Pulp and Papermaking Process 20 2.3. Patenting in the Paper and Pulp Industry: A Historical Perspective 22 2.4. Environmental Impact of the Pulp and Paper Industry 25 3 METHODOLOGY 27 3.1. Search Strategy 27 4 ANALYSIS OF PATENT DOCUMENTS USING GPI 31 4.1. Papermaking; Production of Cellulose (IPC or CPC class D21) 31 4.2. Analysis of Patenting Activity in Different Technology Areas using GPI 38 5 ANALYSIS OF THE INDIAN PATENT SCENARIO WITHIN THE CONTEXT OF THIS REPORT 81 5.1. Analysis of Patents Filed in India 81 6 CONCLUDING REMARKS 91 REFERENCES 93 ANNEXURE 94 Annexure 1. Technologies related to paper manufacturing 94 Annexure 2. Sustainable/green technologies related to pulp and paper sector 119 Annexure 3. Emerging Technology Areas 127 List OF FIGURES Figure 2.1: Geographical Spread of Figure 4.11: (d) Applicant vs. Date of Indian Paper Mills .................................16 Priority Graph: Paper-Making Machines Figure 2.2: Share of Different Segments and Methods ........................................42 in Total Paper Production .......................19 Figure 4.11: (e) Applicant vs. Date of Figure 2.3: Variety Wise Production of Priority Graph: Calendars and Accessories ..43 Paper from Different Raw Materials ........19 Figure 4.11: (f) Applicant vs. Date of Figure 2.4: Different Varieties of Paper Priority Graph: Pulp or Paper Comprising Made from Various Raw Materials ..........19 Synthetic Cellulose or Non-Cellulose Fibres ..43 Figure 2.5: Diagram of a Process Block Figure 4.11: (g) Applicant vs.
    [Show full text]
  • Fine Printing & Small Presses A
    Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • Catalogue 58 – Contemporary Book Arts
    Priscilla Juvelis – Rare Books Catalogue 58 – Contemporary Book Arts Bindings Bound by Samuel Feinstein in gilt and black with a pattern of gold dots, top edge gilt, publish- ers full brown morocco slipcase, 1. Caliban Press. McMurray, Mark. Lecons de Livre pour spine paneled, with press, title, Calyban or Prosper’s Parisian Printing Parade. Bon mots, author, binder, designer, place and bagatelles, & tableaux de l’imprimerie. Also a sometime type date stamped in gold gilt on spine, specimen & leaf book. As Told to an American. Pochoir by Jef signed on the lower rear turn-in in Aerosol. St-Zotique, Quebec [Canton, NY]: Cat’s Head Press gold gilt, “R. Ashwin Maynard” [Caliban Press], 2008. $2,500 on left and “George Fisher” on One of 114 copies, all on various papers including Rives and Arches, right above double gilt rule and vintage Barcham Green handmade, St-Armand handmade from Montreal, “The Gregynog Press” centered Quebec, Kochi from Japan and handmade lokta from Nepal, each signed below double gilt rule, the fine by the author / printer. Mark McMurray has created his own look at John Roland Abby copy with his printing history in Paris, with a dark back story of immigrant life in the ex-libris on the front pastedown. “City of Light.” Page size: 8-¼ x 12 inches; 48pp. This is a beautiful binding, de- Unique binding by Samuel Feinstein: full dusty rose morocco goatskin, signed by R. Ashwin Maynard naturally grained with pigmented finish, resembling stingray skin and who also engraved the portrait of called by same name, Chagreen; hand-sewn double-core silk headbands in Christina Rossetti which opens pale salmon, front panel with 12 black fillets in string-shaped twist the Introduction on p.
    [Show full text]
  • 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.
    [Show full text]
  • Preservation of Wallpapers As Parts of Interiors
    Kadri Kallaste Kadri Kallaste (b. 1983) trained as a paper conservator Kadri Kallaste at the Estonian Academy of the Arts. She has also studied in the Restoration Department of the University of Ljubljana and the Institute for Conservation and Restoration of the University of Applied Arts in Vienna. During her studies, she has had several internships in PRESERVATION various institutions, including the Conservation Center Kanut and Estonian Art Museum in Tallinn, the National OF WALLPAPERS Archive of Slovenia in Ljubljana and Cole & Son Ltd., a manufacturer of hand-printed wallpapers in London. Kadri Kallaste’s main area of study is the research and practical preservation of historic wallpapers AS PARTS OF in situ. She has worked on numerous wall-paper preservation projects in Estonia and abroad, including objects in Austria and at the German INTERIORS Wallpaper Museum in Kassel, Germany. PRESERVATIONOF WALLPAPERS PRESERVATIONOF AS PARTS OF INTERIORS AS PARTS Preservation of wallpapers as parts of interiors. Addressing issues of wallpaper conservation on the basis of projects carried out in Austria, Estonia and Romania Although wallpapers form a unified whole with other decorative details of interiors, very few of them are preserved in their original locations. At the same time, contemporary conservation theory emphasizes the importance of preserving wallpapers in their primary locations. Obviously, conflicts arise between practical preservation options, expectations of the public or owners and widely acknowledged preservation principles. If in preserving historic wallpapers in their original location in situ is not feasible, other solutions should be considered carefully. Depending on several criteria, wallpapers can be returned to their original locations after conservation treatment, integrated into new appropriate environments or preserved in museums.
    [Show full text]
  • School Supplies 2020-21
    ST. JOHN THE EVANGELIST REGIONAL CATHOLIC SCHOOL SUPPLIES LIST 2020-2021 PRESCHOOL GRADE 2 PLEASE LABEL ALL ITEMS WITH CHILD’S NAME 2 STURDY POCKET FOLDERS (BOTTOM POCKETS ONLY) 24 #2 PENCILS WITH ERASERS (SHARPENED) 2 BOX OF 8 LARGE SIZE CRAYOLA CRAYONS – BASIC COLORS 1 12” RULER (MUST INCLUDE METRIC MEASUREMENTS) 1 ROLL OF PAPER TOWELS (NOT JUMBO) 1 BOTTLE OF ELMER’S GLUE – 8 0Z AND 2 GLUE STICKS 1 BOTTLE HAND SANITIZER 1 PAIR SCISSORS (CHILD SIZE WITH POINTED EDGE) 1 BOX OF DISINFECTING WIPES 2 POCKET FOLDERS (SPANISH AND HOMEWORK) 1 REAM OF 8 ½ x 11 WHITE COPY PAPER 3 POCKET FOLDERS – WILL BE LABLED FOR YOUR CHILD 1 PACK OF GLUE STICKS 1 BOX 24 COUNT CRAYOLA CRAYON 1 LG. BOX TISSUES 1 WATER COLOR PAINT SET (16 COUNT) 1 PKG. NAPKINS 6 COMPOSITION BOOKS (BLACK AND WHITE SEWN BINDING) 1 FULL SIZE SINGLE ZIPPER BACK PACK 1 HOMEWORK ASSIGNMENT BOOK PURCHASED FROM OFFICE 10 POSTAGE STAMPS 2 BOOK COVERS (NO CONTACT PAPER) 1 SOFT ZIPPERED PENCIL CASE (LARGE ENOUGH FOR SUPPLIES TO FIT) 1 KINDERMAT FOR REST PERIOD-STANDARD SIZE (5/8 X 19 X 45) 1 PACK OF ADDITION FLASHCARDS (KEEP AT HOME TO PRACTICE) (FOR PRE-4 ONLY) 1 PACK OF SUBTRACTION FLASHCARDS (KEEP AT HOME TO PRACTICE) 3 CONTAINERS OF DISINFECTING WIPES 1 BINDER 3 LARGE BOXES OF KLEENEX TISSUE 8 POSTAGE STAMPS 1 SMALL PENCIL SHARPENER WITH COVER BOOK BAG 3 REAMS OF 8 ½ X 11 WHITE COPY PAPER KINDERGARTEN GRADE 3 2 POCKET FOLDERS (BOTTOM POCKETS ONLY) 4 BOXES OF 24 COUNT CRAYONS 4 BOXES OF 8 CRAYOLA CRAYONS– 8 BASIC COLORS-Regular Size 1 WATER COLOR PAIN SET (16 COUNT) 1 WATERCOLOR PAINT
    [Show full text]
  • The Vea T Chs Ar T S of the Book C a Talogue
    CATALOGUE 97 THE VEATCHS ARTS OF THE BOOK Above: 22. Frasconi Cover: 7. Berté Catalogue 97 New Acquisitions, including Bindings, Color Printing, Paper Specimens, and Typography summer 2021 The Veatchs Arts of the Book · Lynne & Bob Veatch 6145 McKinley Parkway, No. 9, Hamburg, New York 14075 [email protected] · 716–648–0361 · veatchs.com ordering informAtion: Your satisfaction is guaranteed. All books are returnable, with advance notice. Payment is accepted by check, Visa, Mastercard, and wire transfer. Libraries may request deferred billing. New York State residents must add 8¾% sales tax. Shipping charges are additional. NOTE: We will be glad to provide additional photo­ graphs of any item. 1 Album Amicorum (Stammbuch). A Friendship Album, or Poesiealbum, belonging to Rosa Müller. Fröbershammer, 1768. 7 × 4¼. Approx. 45 leaves of manuscript interspersed with numerous blank leaves + 9 tipped in drawings and paintings, four on vellum. Baroque title printed in red, with microscopic calligraphic text in black. Contemporary leather with gilt fleu- rons bordering a geometric inlay on both covers; marbled end- papers, edges gilt. Binding quite worn. Paper clip mark on title page, one leaf missing a corner, some tanning. A good copy of this charming artifact. $600 The handwritten text on the title page admonishes contributors to honor the beauty of Rosa’s illustration by contributing their own. The tipped- in illustrations here may have been commissioned or purchased ready- made from a stationer. Most entries are dated 1768 or 1769, and are scattered throughout the album. One entry is as late as 1787. The sentiments are written in a wide variety of scripts.
    [Show full text]
  • Frank Stella’S Working Archive
    FRANK STELLA’S WORKING ARCHIVE EXHIBITION COPY Please do not remove from gallery All works created by Frank Stella and are courtesy of Harriet McGurk Stella unless otherwise stated Wall Key Top view of gallery 2 1 6.2 Gallery entrance 3 7 6.1 5 4.2 4.1 Smoke Rings series WALL 1 8 16 22 30 38 46 54 62 67 Cylinder Working Drawings, 1977 Untitled, 1960 "Squash Racket Diagrams”, 1970 Swiss Catalog Drawings, 1967 Brazilian Series Working Drawings, Notes for Color Strategy, 1973 Indian Bird Working Drawing, 1978 Notebook of 15 Exotic Bird Working Notes for Color Strategy, 1973 1 Pencil on paper Pencil on graph paper Black ballpoint pen on pad paper Pencil on graph paper 1974 Pen on stationary Black pen on lined white paper Drawings and Notes, 1976 Pen on stationary Arnold Newman FS77.025 FS60.023a, FS60.023b, FS60.023c FS70.056, FS70.055 FS67.134a, FS67.134b Pencil on white paper FS73.006 FS78.024 Mixed media on paper FS73.014 Frank Stella, 1967 FS74.068 FS76.080 Silver gelatin print 9 17 23 31 47 55 68 Private Collection, NY, FSC67.006 Exotic Bird Working Drawing, 1976 "Drawing", 1970 Drawing for Hollis Frampton, 1963 Miscellaneous Working Drawings, 39 Arman, Merry Christmas and a Doodle with Text, 1980 63 Shards III, 1981 Pencil on yellow paper Pencil on white paper Pencil on graph paper 1965 Carl Andre, 1972 Happy New Year. XX, F and Harriet, Black pen on lined paper Polish Village Working Drawing, Lithograph and screenprint with 2 FS76.012 FS70.101 FS63.002 Pencil on newsprint paper Graphite on gridded paper 1979 FS80.014 1974 oil crayon
    [Show full text]