Top row, left: Susan Crile (American, b. 1942), Back and Forth (T. 82-613; (click title for enlargement). Original color lithograph printed and published by the Tamarind Institute, 1982. 40 signed & numbered impressions. Crile is a painter and printmaker whose work is featured in A Graphic Muse, and she has had numerous one-person shows throughout the U.S. Her wprks are included in a number of U.S. museums including the Albright-Knox Museum in Buffalo, NY. This work was printed at the Tamarind Press. Image size: 614x920mm. Mat size: 30x42 inches. Price: Please call or email for current pricing information.
Top row, right: Jennifer Bartlett (American, b. 1941), Earth Fireworks (Art at Lincoln Center, p. 181; (click title for enlargement). Original 26-color serigraph, 1996. 105 signed & numbered impressions. Bartlett is one of the most important American painters and printmakers of her generation. Her work frequently explores different ways of seeing a given place or object. Commissioned by Lincoln Center for the Performing Arts in NY CIty and published by them. One of her most beautiful prints. Image size: 575x775mm. Mat size: 30x42 inches. Price: Please call or email for current pricing information.

Middle row, left: Suzanne McClelland (American, b. 1959), Mankind. Original color lithograph and chine collé, 2004. 120 signed impressions for the Madison Print Club + 20 artis'ts proofs. Her work has been shown at the Whitney Museum (including the 2014 Whitney Biennial) and galleries & museums in the US, Italy, Germany, Scotland, England, and Austria. In the large "T, careful study reveals Matthias Grünewald's John the Baptist (from the Isenheim Altarpiece, c. 1520; the same images appear, greatly magnified, in the front and read illustrations in Barry Schwabsky, Carol Kino, and Sue Scott, Suzanne McClelland: rock and shift (Lenox MA: Hard Press Editions, 2008) pointing at an Apollo rocket; the other letters are equally full of details. Image size: 390x322mm. Mat size: 30x24 inches. Price: Please call or email for current pricing information.
Middle row, center: Suzanne McClelland (American, b. 1959), Untitled (click title for enlargment), Oil on canvas, 1980. Suzanne McClelland,whose work is currently being featured in the 2014 Whitney Biennial at the Whitney Museum of Art in NYC ), is here represented by a work that was included in the exhibition Panorama '80. The work is signed and titled in pencil on the reverse. McClelland's work is featured in the March 2014 Art in America, pp. 106-115. Image size: 812x863mm. Frame size: 31-7/8x34 inches. Price: Please call or email for current pricing information.
Middle row right: Hollis Sigler (American, 1948-2001), I find hope on the horizon of my tomorrows. Original color lithograph, 1997. 120 signed impressions for the Madison Print Club (of which 2 went to the Chazen Museum of Art and the Madison Museum of Contemporary Art) plus 20 artists proofs. Sigler's late works frequently grow out of her struggles with breast cancer, which was fatal to most of the women in her family. Her struggles with her fate are reflected in Hollis Sigler's Breast Cancer Journal (NY: Hudson Hills Press, 1999), which illustrates the phases of her hopes and fears through her art. Important exhibits included those at the Whitney Biennial and the Art Institute of Chicago. Her work is in the permanent collections of the Corcoran Gallery in D.C., the Museum of Modern Art in NY, the Contemporary Art Museum in Cincinnati, and the Museum of Contemporary Art in Chicago, the Smithsonion, the National Museum of Women in the Arts, and many others. In 2001 she was awarded the College Art Association's Distinguished Artist Award for Lifetime Achievement and the Chicago Caucus for Women in the Arts Lifetime Achievement Award. Image size: 570x760mm. Mat size: 28x36 inches. Price: Please call or email for current pricing information.

Bottom row, left: Anita Jung (American, b. 1960), Sendings: The Legend of Isis 4. Original color color mixed media, 1990. This is one of a series of twenty unique pieces, each involving etching, lithography, and collage. There is a text incised onto the left side of the work: "IRIS PHOENIX." According to Wikipedia, Iris is a genus of 260–300 species of flowering plants with showy flowers. It takes its name from the Greek word for a rainbow, referring to the wide variety of flower colors found among the many species. According to Hesiod's Theogony, Iris is the daughter of Thaumas and the cloud nymph Electra. Iris is frequently mentioned as a divine messenger in Homer's Iliad, but does not appear in the Odyssey, where Hermes fills that role. Like Hermes, Iris carries a caduceus or winged staff. By command of Zeus, the king of the gods, she carries an ewer of water from the River Styx, with which she puts to sleep all who perjure themselves. As in Jung's related works dedicated to Persephone and Isis, Iris is a divine figure who serves both Zeus and the gods of the underworld, ranging from the sky to the realms below. As in Persephone, the top of the work features a number of images of plants not flowering but dead or slumbering the sleep of winter. Knife-like shapes and empty hands abound amidst a background of orange and red, tan and black. A powerful but tantalizing images that hints at more than it explicitly says. Image size: 805x1220mm. Mat size: 32.5x49 inches. Price: Please call or email for current pricing information.
Bottom row, right: Anita Jung (American, b. 1960), Persephone. Original color monotype with etching and lithograph, 1990. According to Hesiod, Persephone was the daughter of Zeus (Jupiter in Roman mythography) and Demeter (Ceres). Hades, the god of the Underworld, lusted after her, rose up out of the earth, seized her, threw her in his chariot, and took her down to his underworld kingdom. Demeter, the goddess of agriculture, searched unsuccessfully for her daughter and ultimately refused to allow any plants to grow until Persephone was returned to her. Unfortunately, while she was in the Underworld, she had eaten 6 pomegranate seeds, and so could not return to the upper world. Ultimately, a deal was arranged so that Persephone would spend half the year above ground and Demeter would allow plants to grow while she was with her daughter, and half the year below with Hades, during which all plants would mourn and nothing would grow, hence winter. We see a dead or slumbering body lower right (presumably Demeter, who is dead to the world during the winter months) and across the top we see a group of black plants, presumably withering away during the winter. Image size: 31.5 x 47.2 inches). Please call or email for current pricing information.
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Anita Jung received her MFA from the University of Wisconsin, Madison. She also worked as a master printer at Bill Weege's Off Jone's Road Print Shop and at the Tandem Press of the University of Wisconsin. She is currently a Professor of Art at the University of Iowa where her specialty is printmaking. Her work has been shown in the US and abroad. For more of her works, please click here. Image size: 800x1210mm. Frame size: 33x49inches. Price: Please call or email for current pricing information.

Louise Nevelson (American, 1899-1988), Untitled 54-3 (Baro 117). Original color aquatint and collage, 1973. 90 signed & numbered impressions plus c. 15 artist's proofs. Printed at the 2RC Workshop in Rome on with their blindstamp. One of Nevelson's most elegant collage-mixed media prints from a series of visits extending from the late 1960s to the mid 1970s nd ranks among her highest achievements in printmaking. Image size: 755x495mm. Mat size: 40x30 inches. Price: Please call or email for current pricing information.
For more on Louise Nevelson's works available from Spaightwood Galleries, please click here.

Top row, left: Louise Nevelson (American, 1899-1988), Untitled. Original color aquatint and collage on C.M. Fabriano 120 paper, 1975. 90 signed & numbered impressions plus c. 15 artist's proofs. Printed at the 2RC Workshop in Rome on with their blindstamp. One of Nevelson's most elegant collage-mixed media prints from a series of visits extending from the late 1960s to the mid 1970s that ranks among her highest achievements in printmaking. Image size: 755x495mm. Mat size: 40x30 inches. Price: Please call or email for current pricing information.
Top row, center: Louise Nevelson (American, 1899-1988), Untitled 54-5. Original color aquatint and collage on C.M. Fabriano 120 paper, 1973. 90 signed & numbered impressions plus c. 15 artist's proofs. Printed at the 2RC Workshop in Rome on with their blindstamp. One of Nevelson's most elegant collage-mixed media prints from a series of visits extending from the late 1960s to the mid 1970s that ranks among her highest achievements in printmaking. Image size: 755x495mm. Mat size: 40x30 inches. Price: Please call or email for current pricing information.
Top row, right: Louise Nevelson (American, 1899-1988), Untitled 54-4. Original color aquatint and collage on C.M. Fabriano 120 paper, 1973. 90 signed & numbered impressions plus c. 15 artist's proofs. Printed at the 2RC Workshop in Rome on with their blindstamp. One of Nevelson's most elegant collage-mixed media prints from a series of visits extending from the late 1960s to the mid 1970s that ranks among her highest achievements in printmaking. Image size: 755x495mm. Mat size: 40x30 inches. Price: Please call or email for current pricing information.

Bottom row left: Louise Nevelson (American, 1899-1988), Night Image (T-78-6570). Original color lithograph, 1978. 7 signed & numbered impressions on black German etching paper printed at the Tamaring Institute in New Mexico. Our impression is a Printer'sProof annotated "P.P" There were also 4 trial proofs, 2 Tamarind proofs, and one B.A.T. proof. These large Tamarind works incorporate and subvert notions of "women's work." Image size: 1062x770mm. Mat size: 50x36 inches. Price: Please call or email for current pricing information.
Bottom row right: Louise Nevelson (American, 1899-1988), Meditation at Noon (T. 78-660a). Original color lithograph, 1978-79. 7 signed & numbered impressions on on gray Rives BFK paper at Tamarind Institute. Our impression is a Printer's Proof annotated "P.P" There were also 4 trial proofs, 2 Tamarind proofs, and one B.A.T. proof. These large Tamarind works incorporate and subvert notions of "women's work." Image size: 1062x770mm. Mat size: 50x36 inches. Price: Please call or email for current pricing information.

For more on Louise Nevelson's works available from Spaightwood Galleries, please click here.

Top row: Upper left: Susan Rothenberg (American, b. 1945), Untitled (Conductor). Original screenprint, 1985. 72 signed & numbered impressions (of which ours is n. 41/72) + 9 a.p. This work was commissioned by Lincoln Center for the Perfoming Arts in NY City and is illustrated on p. 161 of Charles A. Riley II, Art at Linbcoln Center: The Public Art and List Print and Poster Collections, p. 161). Rothenberg is recognized as one of the most important American artists working today. Her works have been featured at many museums in the U.S., Europe, and and South America; her paintings, drawings, and prints have been shown in many exhibitions including the Venice Biennale. Image size: 985x940mm. Mat size: 36x40 inches. Price: Please call or email for current pricing information.
Upper center: Susan Rothenberg (American, b. 1945), Otis (Maxwell 24). Original lithograph, 1984-85. 29 impressions numbered from 1/29 to 29/29 (of which ours is 25/29) plus 6 artist's proofs and 1 printer's proof printed on handmade Kochi paper by Keith Brintzenhofe at ULAE. Signed and dated in ink lower right corner of the image; the publisher's chop has been embossed in the lower left corner of the paper. The subject is the soul singer Otis Redding, who died when his plane crashed in December 1967 in Lake Monona, across the lake from where we lived for a number of years while we were in Madison (1969-2004). Image size: 453x358mm. Mat size: 32x24 inches. Price: Please call or email for current pricing information.
Upper right: Susan Rothenberg (American, b. 1945), Dead Rooster #4. Original woodcut, 1993. 100 signed & numbered impressions (of which ours is n. 82/100) on handmade Korean Kozo paper to benefit the Museum of Modern Art. Rothenberg is recognized as one of the most important American artists working today. Her works have been featured at many museums in the U.S. and Europe; her paintings, drawings, and prints have been featured in many solo shows in museums and galleries. Image size: 580x740mm. Mat size: 32x40 inches. Price: Please call or email for current pricing information.

Bottom row: Lower left: Louise Nevelson (American, 1899-1988), Composition for the UNESCO Portfolio (Baro 105). Original color intaglio and stencil, 1970. Original color intaglio and stencil in black and brown, 1970. 75 signed and numbered impressions (of which ours is n. 33/75) plus 25 artist's proofs. Printed in Rome at Atelier 2RC on handmade Japanese paper. A very dark and mysterious image, this is one of Nevelson's most elegant and desirable prints. Other contributors to the portfolio included Calder, Delaunay, Matta, Miró, and Victor Passmore. Image size: 632x457mm. Mat size: 30x24 inches. Price: Please call or email for current pricing information.
Lower center: Louise Nevelson (American, 1899-1988), Untitled. Original color screenprint, c. 1980. 150 signed and numbered impressions, of which ours is n. 54/150. Nevelson was one of the most important American sculptors of the twentieth century and especially during the 1960s and 70s created an impressive body of prints, many of them made at 2RC in Rome. The 1974 catalogue raisonné by Gene Baro lists 128 pieces, and most of the later ones are fairly large. Image size: 900x628mm. Mat size: 40x30 inches. Price: Please call or email for current pricing information.
Lower right: Louise Nevelson (American, 1899-1988), The House of Splendor / East Landscape (Baro 6). Original etching, 1953-55. Our impression is a pencil-signed and titled proof on wove paper annotated "1." Some stray printer's ink in margins; slight compression crease upper right margin extending to the platemark upper left. A working proof before the much-changed edition of 20. A rare and mysterious piece presenting a very early state of one of Nevelson's first etchings. Image size: 356x528mm. Mat size: 24x30 inches. Price: Please call or email for current pricing information.

Helen Frankenthaler (American, 1928-2011), Ramblas (Harrison 141, Afif Prints 3). Original 6-color etching, drypoint, and lithograph, 1987-88. Edition: 75 signed and numbered impressions on Rives (of which ours is n. 29/75) plus 16 artist's proofs and 2 printer's proofs. Image size: 870x686mm (34-1/2x27 inches). Price: Please call or email for current pricing information.

In 1987 Frankenthaler accepted an invitation to come to Barcelona and work with master printer Joan de Muga at Ediciones Poligrafa. During a 10-day period Frankenthaler began 4 mixed-media works combining lithography (four aluminum plates) and etching and drpoint (one copper plate). Joan de Muga made 6 visits to Frankenthaler's studios in New York and Connecticut in the following months bringing proofs; Frankenthaler made corrections and gave precise instructions on the way she wanted them printed. The edition was printed after she was finally satisfied with all of her changes. The result is a large (we have it matted in a 44x36 inch museum-board mat), rich, complex, and beautiful work.The signed and numbered impressions were sold by Galeria Joan Prats; the artist's proofs were Frankenthaler's.
For more on Frankenthaler's works at Spaightwood Galleries, please click here.

Top Left: Anita Jung (American, b. 1960), Box. Original color lithograph, 1990. 10 signed and numbered impressions, of which 4 are on buff paper and 6 are on white paper (our impression is on white paper). Titled, signed, and numbered 10/10 on the reverse. The hand-written text on the front ("Pandora never had a box") is a rejection of the myth that the gods gave Pandora a box and warned her not to open it; she did, letting all evils escape into the world (though hope remained in the box). The work stands as a rebuttal of the blame that men have heaped upon women throughout history. In a statement Jung observes that "Craft usually implies skill but in my case it has led me to an accessible and rudimentary way of creating repeatable icons. These matrices make no attempt to hide what they are or how a thing was made: their technology is fundamental, immediate and direct, they are the fastest and most available of tools, and their implementation is evident and readily understood. They are irreversibly intertwined and attached to my sense of the feminine, make-believe, memory and sentiment. They are rich with pleasurable references to nostalgia and the cliché.” They are also a means to correct the history of women's role in creation and to re-assert "the ephemeral nature of beauty." Anita Jung is a Professor of Art at the University of Iowa, where she teaches printmaking. Her works have been shown in the U.S. and internationally. While she was earning her MFA at the University of Wisconsin-Madison she received support by working at Prof. Bill Weege's Off Jones Road Print Studio and received a fellowship to work as a printer at the UW's Tandem Press. Image size: 760x565mm. Mat size: 36x28 inches. Price: Please call or email for current pricing information. For more Anita Jung, please go to http://spaightwoodgalleries.com/Pages/Anita_Jung.html
Top center: Upper left: Joan Snyder (American, b. 1940), Field of Moons (Symmes 44; (click title for enlargment). Original monoprint (color etching, aquatint, & woodcut), 1993. This is part of a series of 8: hand-inked and selectively printed in various media, including oil paint and pastel; they were subject to multiple printings and hand-coloring, each one of the 8 impressions is thus a unique variant and is annotated 1/1 lower left and signed lower right. Originally published in "The New Provincetown Print Project Portfolio." Image size: 565x711mm. Mat size: 38x34-5/8 inches. Price: Please call or email for current pricing information. For more on Joan Snyder, click here.
Top right: Joan Snyder (American, b. 1940), Requiem / Let Them Rest (Symmes 57). Original color lithograph, etching, & woodcut on Arches, 1998. 120 signed and numbered impresssions for the Madison Print Club (of which 2 went to the Chazen Museum of Art and the Madison Museum of Contemporary Art) plus 32 artist's proofs. Printed at Jungle Press Editions, NY. This work relates to the scourge of AIDS wich took a very high toll among the New York City arts community when it first hit. Snyder has been an important figure in the feminist art movement since the early 1970s. In 1998 the Brooklyn Museum of Art presented a retrospective of her prints. Image size: 657x510mm. Mat size: 36x28 inches. Price: Please call or email for current pricing information.

Bottom left: Helen Frankenthaler (American, 1928-2011), Untitled: The Cleveland Orchestra Print (HR-68). Original color screenprint, 1978. 150 signed & numbered impressions plus 25 artist's proofs signed and numbered from I-XXV/XXV. This work was made for the Cleveland Orchestra's endowment fund, and carries the Orchestra's logo underneath the mat at the lower left corner. If one wanted to show it, one could float the image on a larger mat; since she signed it just above the logo, it would seem that she was o.k. with the prospect that some might wish to mat over the logo. Image size: 560x760mm. Mat size: 28x36 inches. Price: Please call or email for current pricing information.
For more on Frankenthaler's works at Spaightwood Galleries, please click here.
Bottom Center: Lee Krasner (American, 1908-1984), Free Space. Original color serigraph, 1975. 175 signed and numbered impressions + 50 Roman numbered + 25 HC & 25 EA. Krasner was one of the original group of Abstract Expressionists and Jackson Pollock's widow. Her work has been featured in many shows around the country and was a major contribution to the movement. Image size: 495x660mm. Mat size: 28x36 inches. Price: Please call or email for current pricing information.
Bottom right: Joan Mitchell (American, 1926-1992), Sunflower V. Original color etching, 1972. 75 signed and numbered impressions on Arches. Published in Paris by Maeght Editeur. Ours is an HC impression. Joan Mitchell’s death at the early age of 66 from lung cancer left us to lament the absence of this "ecstatic and inventive colorist" (as John Russell calls her in his New York Time obituary), this "lyric poet in paint" (as Jed Perl describes her in Gallery Going: Four Seasons in the Art World). Perl’s review of a 1990 show quoted at length from the poet John Ashbery’s 1970 comment about Mitchell’s relation to nature that "one’s feelings about nature are at different removes from it. There will be elements of things seen even in the most abstracted impression; otherwise the feeling is likely to disappear and leave an object in its place. At other times feelings remain close to the subject, which is nothing against them; in fact, feelings that leave the subject intact may be freer to develop, in and around the theme and independent of it as well." Perl went on to comment that Mitchell might have been the only person working in an abstract expressionist vein in 1990 who did paintings that were not objects, and concluded, "The best Mitchells are authentically civilized experiences. Our appetites are focused and clarified. Her colors are the beautiful colors of the world: tans of flesh and greens of landscape, but also the purple of the iris and the tawny yellow of the pear." Image size: 685x435mm. Mat size: 36x28 inches. Price: Please call or email for current pricing information.
For more on Joan Mitchell's works at Spaightwood Galleries, please click here.

Top row (from left): Joan Mitchell (1926-1992), Composition Grise: Fields. Original color lithograph in black and gray, 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields just before dawn. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.
Joan Mitchell (1926-1992), Composition Vert / Noir: Fields. Original color lithograph in black, gray, and green, 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields just before dawn. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.
Joan Mitchell (1926-1992), Composition Rouge / Noir: Trees. Original color lithograph in red and black, perhaps reflecting the first rays of the sun hitting the fields directly (or not), 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields just before dawn. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.

Bottom row (from left): Joan Mitchell (1926-1992), Composition Rouge / Noir: Trees.. Original color lithograph in black, and red, perhaps reflecting the last rays of the setting sun on the trees in the field (or not), 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields just before dawn. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.
Joan Mitchell (1926-1992), Composition Bleu / Jaune: Trees. Original color lithograph in black, and yellow, perhaps reflecting the mid-day sun on the trees in the field (or not), 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields just before dawn. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.
Joan Mitchell (1926-1992), Composition Jaune / Noir: Trees. Original color lithograph in black, and yellow, perhaps reflecting the mid-day sun on the trees in the field (or not), 1990. 125 signed and numbered impressions on Arches published by La Difference, Paris. This scene could reflect either a view of the fields lit by the rising sun driving the night away (or not).. The six lithographs illustrated above were issued together and represent some of Joan Mitchell's last work anywhere but with Ken Tyler at Tyler Graphics in Bedford, NY. These works are simpler and more direct than the magnificent pieces she did with Tyler upon which she was still working at the untimely time of her demise. Image size: 762x562mm. Mat size: 36x28 inches. Price: SOLD.

For more on Joan Mitchell's works at Spaightwood Galleries, please click here.

Top row: Helen Frankenthaler, Grey Fireworks (Art at Lincoln Center, p. 190). Original 63-color screenprint, 2000. 108 signed & numbered impressions plus 18 artist's proofs. Based on Frankenthaler's painting of the same name, this screenprint published by Lincoln Center is one of Frankenthaler's most painterly prints. When this work was announced, we ordered 5 impressions of it. As the due date came (and went), we began getting eager to receive the work, but, as Tom Lollar, then head of the Print Program kept reassuring us, it ws late because every time Frankenthaler looked at what were supposed to be the final proofs, she would go back into the studio and add several more colors to the mix. When it finally arrived, we sold all five of our signed and numbered impressions within two weeks. There was also a poster with text printed from the same screens, about 700 of which were for sale at Lincoln Center of which ours is one. Alas, all that remains is this poster, made from the same screens at Brand X Editions, the printer for the signed and numbered edition, but with a printed text at the bottom, which we have matted over to show only the glorious colors of the image itself (63 colors!!). Image size: 710x1168mm. Mat size: 36x45 inches. Price: Please call or email for current pricing information (frame included).
Bottom row: In Joan Mitchell: Bedford Series (Bedford: Tyler Graphics, 1981), Barbara Rose (author of American Art Since 1900 and Autocritique: Essays on Art and Anti-Art, 1963-1987) suggests that in these prints Joan Mitchell attempted to "translate her painterly vision into a print medium" and adds that her collaboration with Ken Tyler "is clearly a triumph for both." Rose goes on to describe the scene at the studio: "Mitchell is a painstaking and careful worker. No snap decisions. She works on her lithographs as she paints, revising, considering, criticizing the work in a process that takes time. 'Ken,' she says, 'I want to try a color like the color of dying sunflowers.' Her instructions are precise but not literal. What she has in mind is a sensation, not an objection or even a place. Mitchell, with her roots in American action painting and the romantic subjective esthetic of the New York School, paints an inner vision. The 'landscapes' she paints are expressions of emotions felt, not of things seen. Joan Mitchell's lithographs are an extension of her recent painting."
For more on Joan Mitchell's works at Spaightwood Galleries, please click here.

At left: Joan Mitchell (1926-1992), Sides of a River III (Walker Art Center 368: JM6). Original 2-color lithograph, 1981. 70 signed and numbered impressions on Arches wove paper printed and published by Tyler Graphics in Bedford N. Y. This work was printed in two colors in two runs on two aluminum plates. Image size: 1080x826mm. Mat size: 50x40 inches. Price: Please call or email for current pricing information

Joan Mitchell (1926-1992), Flower II (Walker Art Center 370: JM8). Original 2-color lithograph, 1981. 70 signed and numbered impressions on Arches wove paper printed and published by Tyler Graphics in Bedford N. Y. This work was printed in two colors in two runs on two aluminum plates. Image size: 1080x826mm. Mat size: 50x40 inches. Price: Please call or email for current pricing information.

Helen Frankenthaler (American, 1928-2011), Solar Imp. Original 35-color screenprint, 2001. 126 signed and nummbered impressions on Somerset Textured Rag paper, of which this is n. 71/126. There were also 18 artist's proofs. Commissioned by Lincoln Center for the Performing Arts to help support the programs at Lincoln Center. In addition to the signed and numbered edition, there was also an unsigned poster edition with a printed text—Lincoln Center Salutes New York City Ballet—of about 800, 300 of which were used at Lincoln Center to advertise programs at the Center. Illustrated on p. 191 of "Art at Lincoln Center: The Public Art and List Print and Poster Collections" (2009). Image size: 1000x760mm. Mat size: 48x38 inches. Price: Please call or email for current pricing information.
For more on Frankenthaler's works at Spaightwood Galleries, please click here.

Spaightwood Galleries, Inc.

To purchase, call us at 1-800-809-3343 (1-508-529-2511 in Upton MA & vicinity) or send an email to spaightwood@gmail.com
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