International Fine Print Dealers Association (IFPDA) Art Fair
BOOTH 209
River Pavilion
11th Avenue at 35th Street
New York, New York 10001
October 22 – October 28, 2018
Wednesday (10/24), Preview Benefit: 6:30 – 9pm (Tickets required – you may purchase tickets here)
Purchase general admission tickets here
Thursday (10/25): 12 – 8pm
Friday (10/26): 12 – 8pm
Saturday (10/27): 12 – 8pm
Sunday (10/28): 12 – 6pm
From left to right: Ellsworth Kelly, Josef Albers, Fred Sandback, Liliana Porter, Richard Serra, Brice Marden, and Kiki Smith (on desk)
Image size: 28 7/8 x 22 inches (73.3 x 55.9 cm)
Paper size: 40 7/8 x 33 7/8 inches (103.8 x 86 cm)
Edition of 16
Signed and numbered lower right in graphite
(Inventory #29527)
Image size: 28 7/8 x 22 inches (73.3 x 55.9 cm)
Paper size: 40 7/8 x 33 7/8 inches (103.8 x 86 cm)
Edition of 16
Signed and numbered lower right in graphite
(Inventory #29527)
Image/plate size: 7 1/8 x 9 7/16 inches (18.1 x 24 cm)
Paper size: 12 x 15 1/2 inches (30.5 x 39.4 cm)
Edition of 20
Signed and dated “Albers 50” lower right. Titled and numbered lower left
(Inventory #28127)
Image/plate size: 7 1/8 x 9 7/16 inches (18.1 x 24 cm)
Paper size: 12 x 15 1/2 inches (30.5 x 39.4 cm)
Edition of 20
Signed and dated “Albers 50” lower right. Titled and numbered lower left
(Inventory #28127)
Image size: 19 9/16 x 12 3/4 inches (49.7 x 32.4 cm)
Paper size: 30 3/8 x 22 1/4 inches (77.2 x 56.5 cm)
Signed and dated lower right in graphite
(Inventory #29504)
Image size: 19 9/16 x 12 3/4 inches (49.7 x 32.4 cm)
Paper size: 30 3/8 x 22 1/4 inches (77.2 x 56.5 cm)
Signed and dated lower right in graphite
(Inventory #29504)
Image size: 5 1/6 x 5 1/6 inches (13.1 x 13.1 cm)
Paper size: 7 1/2 x 7 1/2 inches (19.1 x 19.1 cm)
Edition of 30
Estate stamped on reverse with the estate number
(Inventory #16092)
Image size: 5 1/6 x 5 1/6 inches (13.1 x 13.1 cm)
Paper size: 7 1/2 x 7 1/2 inches (19.1 x 19.1 cm)
Edition of 30
Estate stamped on reverse with the estate number
(Inventory #16092)
From left to right: Richard Serra, Brice Marden, Mel Bochner, Kiki Smith (on desk), Sam Durant, and Sol LeWitt
Image/paper size: 53 x 47 3/8 inches (134.6 x 120.3 cm)
Frame size: 56 1/8 x 50 1/4 inches (142.6 x 127.6 cm)
Edition of 38
Signed, dated and numbered upper right corner in graphite
(Inventory #28808)
Image/paper size: 53 x 47 3/8 inches (134.6 x 120.3 cm)
Frame size: 56 1/8 x 50 1/4 inches (142.6 x 127.6 cm)
Edition of 38
Signed, dated and numbered upper right corner in graphite
(Inventory #28808)
From left to right: Brice Marden, Mel Bochner, Robert Rauschenberg, Kiki Smith (partial view), and Sam Durant
Image/Plate size: 8 7/8 11 7/8 inches (22.5 x 30.2 cm)
Paper size: 27 x 21 1/2 inches (68.6 x 54.6 cm)
Frame size: 32 x 26 inches (81.3 x 66 cm)
Edition of 45
Signed, numbered and dated lower center in graphite
(Inventory #28052)
Image/Plate size: 8 7/8 11 7/8 inches (22.5 x 30.2 cm)
Paper size: 27 x 21 1/2 inches (68.6 x 54.6 cm)
Frame size: 32 x 26 inches (81.3 x 66 cm)
Edition of 45
Signed, numbered and dated lower center in graphite
(Inventory #28052)
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Image/plate size: 9 x 11 7/8 inches (22.9 x 30.2 cm)
Paper size: 27 1/4 x 21 inches (69.2 x 53.3 cm)
Frame size: 31 3/4 x 25 7/8 inches (80.6 x 65.7 cm)
Edition of 45
Signed ‘B. Marden’, numbered and dated lower center in graphite
(Inventory #25675)
“It’s about touch and it’s about feeling and it’s very direct.”
Brice Marden
Since 1961 when a student at Boston University, Brice Marden has worked with etching. He has utilized line etching, sugarlift, aquatint and a myriad of other techniques. The two works by Marden included in “Woven” were made twenty years apart (1992 and 2012) and while there is a strong change within the overall structure of marks, a consistency reigns. The process of making a print – wiping, scraping, acid-etching, etc. as well as deciding how big and what paper to print upon – are all used by Marden to create a dynamic, sensitive, and quiet situation for contemplation. Simultaneous to this, he shows that the power of all the marks comes from their contingency to other marks. Compare, contrast, push, pull, and support are just some of the formal actions that Marden’s lines, planes and spaces do to and with each other.
Image/paper size: 36 3/8 x 48 1/2 inches (92.4 x 123.2 cm)
Signed recto in pencil
(Inventory #25933)
Image/paper size: 36 3/8 x 48 1/2 inches (92.4 x 123.2 cm)
Signed recto in pencil
(Inventory #25933)
From left to right: Robert Rauschenberg and Kiki Smith
Image size: 35 x 35 inches (88.9 x 88.9 cm)
Paper size: 39 7/8 x 40 inches (101.3 x 101.6 cm)
Edition of 50
Signed, numbered and dated lower right in graphite
(Inventory #29804)
Image size: 35 x 35 inches (88.9 x 88.9 cm)
Paper size: 39 7/8 x 40 inches (101.3 x 101.6 cm)
Edition of 50
Signed, numbered and dated lower right in graphite
(Inventory #29804)
Image/paper size: 11 3/4 x 8 1/8 inches (29.8 x 20.6 cm)
Signed and dated lower center
(Inventory #29093)
Image/paper size: 11 3/4 x 8 1/8 inches (29.8 x 20.6 cm)
Signed and dated lower center
(Inventory #29093)
Image/paper size: 11 5/8 x 8 1/8 inches (29.5 x 20.6 cm)
Signed and dated lower right in graphite
(Inventory #29094)
Image/paper size: 11 5/8 x 8 1/8 inches (29.5 x 20.6 cm)
Signed and dated lower right in graphite
(Inventory #29094)
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #29769)
Exhibited May 12, 2018 – June 23, 2018
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30143)
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30143)
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30032)
Exhibited June 23 – August 3, 2018
Antwaun Sargent describes Sam Durant’s work this way: “When highly charged language is isolated and removed from its original context, does it have the same meaning? … [Sam Durant has] appropriated protest signs [and] colorfully reimagined [them as] light boxes … the artist isolates the language of protest as a way to expand its punch, while simultaneously highlighting that there are a range of issues on which the public and art can speak truth to power… To create the signs, Durant searched image archives of protest signs from around the world. He then transferred the handwritten vernacular statements onto colorful monochrome light boxes, typically used for commercial advertisement… Looking at the sign, one is reminded of how, over the course of the Black Lives Matter movement’s existence, the chant’s language has evolved to become more explicit…The statements may be decontextualized, mounted as they are on white walls in a gallery, but Durant brings together many voices seeking justice and equality. By exhibiting the anger, collective yearning, and optimism of the people, they are being heard clearly, even in a gallery.”
11 3/4 x 15 3/4 x 4 3/4 inches (30 x 40 x 12 cm)
Edition of 25
Signed and numbered on label on reverse with an accompanied certificate
(Inventory #30032)
Exhibited June 23 – August 3, 2018
Antwaun Sargent describes Sam Durant’s work this way: “When highly charged language is isolated and removed from its original context, does it have the same meaning? … [Sam Durant has] appropriated protest signs [and] colorfully reimagined [them as] light boxes … the artist isolates the language of protest as a way to expand its punch, while simultaneously highlighting that there are a range of issues on which the public and art can speak truth to power… To create the signs, Durant searched image archives of protest signs from around the world. He then transferred the handwritten vernacular statements onto colorful monochrome light boxes, typically used for commercial advertisement… Looking at the sign, one is reminded of how, over the course of the Black Lives Matter movement’s existence, the chant’s language has evolved to become more explicit…The statements may be decontextualized, mounted as they are on white walls in a gallery, but Durant brings together many voices seeking justice and equality. By exhibiting the anger, collective yearning, and optimism of the people, they are being heard clearly, even in a gallery.”
Image size: 10 x 40 inches each (25.4 x 101.6 cm each)
Paper size: 11 1/2 x 41 1/2 inches each (29.2 x 105.4 cm each)
Edition of 10
Signed lower right on each sheet in graphite
(Inventory #29129)
Krakow 1980.02.57 – Krakow 1980.02.62
Image size: 10 x 40 inches each (25.4 x 101.6 cm each)
Paper size: 11 1/2 x 41 1/2 inches each (29.2 x 105.4 cm each)
Edition of 10
Signed lower right on each sheet in graphite
(Inventory #29129)
Krakow 1980.02.57 – Krakow 1980.02.62
8 x 11 x 5 1/8 inches (20.3 x 27.9 x 13 cm)
Edition of 18
Stamp signed, dated and numbered underside
(Inventory #29757)
Image size: 23 1/8 x 89 1/8 inches (58.7 x 226.4 cm)
Paper size: 29 x 95 inches (73.6 x 241.3 cm)
Frame size: 30 13/16 x 96 11/16 inches (78.3 x 245.6 cm)
Edition of 20
Signed and numbered lower right in graphite
(Inventory #29473)
Krakow 1985.03
Image size: 23 1/8 x 89 1/8 inches (58.7 x 226.4 cm)
Paper size: 29 x 95 inches (73.6 x 241.3 cm)
Frame size: 30 13/16 x 96 11/16 inches (78.3 x 245.6 cm)
Edition of 20
Signed and numbered lower right in graphite
(Inventory #29473)
Krakow 1985.03
Image size: 3 3/4 x 12 3/4 inches each (9.5 x 32.3 cm each)
Paper size: 9 7/8 x 18 7/8 inches each (25.1 x 47.9 cm each)
Edition of 75
Signed ‘LeWitt’ and numbered lower right in graphite on each sheet
(Inventory #28869)
Krakow 2005.01
Image size: 3 3/4 x 12 3/4 inches each (9.5 x 32.3 cm each)
Paper size: 9 7/8 x 18 7/8 inches each (25.1 x 47.9 cm each)
Edition of 75
Signed ‘LeWitt’ and numbered lower right in graphite on each sheet
(Inventory #28869)
Krakow 2005.01
