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SAM GILLIAM MIXED MEDIA MONOPRINT DAKOTA BEACH

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SAM GILLIAM MIXED MEDIA MONOPRINT DAKOTA BEACH

Lot 0005 Details

Description
SAM GILLIAM MIXED MEDIA SCREENPRINT DAKOTA BEACH: SAM GILLIAM (American, b. 1933), Unique monoprint, screenprint in layered colors on rag paper with applied and zipper-stitch sewn collage elements, titled, "Dakota Beach 394", embossed Berghoff-Cowden editions stamp, signed on face, "Dakota Beach 394 Sam Gillium", verso, "Dakota Beach #3-94 SG053", 33.975" x 28.75". ABOUT THE BERGHOFF-COWDEN EDITIONS COLLECTION The Berghoff Art Gallery first opened in the 1980’s as Soho South Gallery in Safety Harbor, Florida. In 1988, Lois Berghoff and Dorothy Cowden evolved the Gallery into the Berghoff-Cowden Editions, a collaborative, screenprint workshop first located in a converted warehouse by the University of Tampa, Florida and ultimately settling in New Port Richey, Florida. The workshop specialized in publishing unique and small editions of hand-pulled screen-prints and monoprints. The environment created within this experimental workshop inspired artists to innovate conventional screen printing techniques in a creative manner never seen before or since. Their editions included hand-painting, collage, flocking, cutting and stitching, paper manipulation such as folding, layering and cutting as well as the incorporation of exotic fabrics and layered Japanese papers. The eclectic creative-processes of the workshop attracted a diverse, global group of renowned artists working in several movements including abstraction, expressionism, realism, sculpture and pattern and decoration. A partial roster of artists who create exceptional works in this space includes: Miriam “Mimi” Schapiro (Canadian, American, b. 1923 – d. 2015), Brad Davis (American, b. 1942), Frank Faulkner (American, 1946), Sam Gilliam (American, b. 1933), Roberto Juarez (American, b. 1952), George Sugarman (American, b. 1912 – d. 1999) and Robert Rahway Zakanitch (American, b. 1935). The workshop also invited Italian artists Marilu Eustachio (Italian, b. 1934), Oliviero Rainaldi (Italian, b. 1956) and Cloti Ricciardi (Italian, 20th / 21st centuries). Recognizing the importance of this collaboration, The Polk Museum of Art in Lakeland, Florida, curated and exhibited a collection of these works from the collection of Dorothy Mitchell entitled, “Expanding Expressions” this exhibit was supported by the Polk Museum of Art, Florida Division of Cultural Affairs and the Florida Arts Council and was exhibited throughout the United States at several prominent museums from 1997 until early 2000. Rare-Era is honored to offer hand-selected pieces from this magical time directly from the Berghoff Personal Collection, these choice examples of the editions have never been offered publicly! Refs. 1.) Lois & Linda Berghoff. 2.) Bennett, Lennie. “Paper as a Malleable Medium,” St. Petersburg Times. Published July 13, 2003, http://www.sptimes.com/2003/07/13/news_pf/Floridian/Paper_as_a_malleable_.shtml, accessed: October 28, 2017. 3.) Bennett, Lennie. “The Leepa-Rattner Msueum of Art Reinvents its Space and its Collection,” Tampa Bay Times. Published November 12, 2011. http://www.tampabay.com/features/visualarts/the-leepa-rattner-museum-of-art-reinvents-its-spaceand-its-collection/1200603 , accessed: October 28, 2017. 4.) Schroeder, Ivy. “Expanding Expressions: Contemporary Master Prints, UM St. Louis’ Gallery 210,” Riverfront Times. Published December 15, 1999, https://www.riverfronttimes.com/stlouis/expanding-expressions-contemporary-masterprints/Content?oid=2475571, Accessed: October 28, 2017. BIOGRAPHY: SAM GILLIAM (American, b. 1933) Born in Tupelo, Mississippi and growing up in Louisville, Kentucky, Gilliam is an African American, Color Field painter who is associated with the Washington Color School, Abstract Expressionism and Lyrical Abstraction. He works on stretched, draped, and wrapped canvas, and adds sculptural 3D and collage elements. Circa 1965, Gilliam was recognized as the first artist to introduce the idea of a painted canvas hanging without stretcher bars, a major contribution to the Color Field School. Gilliam received an MA in painting at the University of Louisville in 1961 and an honorary Doctorate of Humane Letters at the University of Louisville in 1980 and Northwestern University in 1990. Gilliam came to Washington, D.C. in 1962 and joined the second generation of Washington Color Painters. Like the first generation of the group, which included Morris Louis and Kenneth Noland, he was interested in the qualities of color as a material substance in and of itself. He is known for fearlessly utilizing color and pattern and applying huge quantities of acrylic paint and gel across large canvases, occasionally cutting the canvas into geometric shapes; triangles and rectangles, wedges and arcs, and stitching the parts together in an improvisational way which has been compared to jazz music and quilting. Gilliam’s work includes sculpture, painting and a combination of these techniques. This technique is echoed in the monoprints Gilliam produced at the Berghoff-Cowden workshop. While the compositions are flat, the layers and geometry create visual dimension. Gilliam received a Guggenheim Fellowship and the Norman Walt Harris Prize from the Art Institute of Chicago. His work is in the collections of the Museum of African Art and the Corcoran Gallery in Washington, D.C., the Leepa-Rattner and Polk Art Museum in Florida, California African American Museum; Metropolitan Museum of Art, Museum of Modern Art, and National Gallery of Art in New York. In 1987 he was selected by the Smithsonian Art Collectors Program to produce a print to celebrate the opening of the S. Dylan Ripley Center in the National Mall. He donated his talent to produce In Celebration, a 35-color limited-edition serigraph that highlighted his trademark use of color, and the sale of which benefitted the Smithsonian Associates, the continuing education branch of the larger Smithsonian Institution. "In Celebration, 1987 by Sam Gilliam". In early 2009, he again donated his talents to the Smithsonian Associates to produce a 90-color serigraph entitled Museum Moment, which he describes as "a celebration of art." He has exhibited at the Museum of Modern Art, New York City and Walker Art Center, Minneapolis, Minnesota and has an exhibition at the Mnuchin Gallery in New York opening November 2, 2017 (http://www.mnuchingallery.com/exhibitions/sam-gilliam). Other major exhibitions include: Gilliam/Krebs/McGowin, Corcoran Gallery of Art, Washington, D.C., 1969 Gilliam/Edwards/Williams: Extensions, Wadsworth Atheneum, Hartford, Connecticut, 1974 Modern Painters at the Corcoran: Sam Gilliam, Corcoran Gallery of Art, Washington, D.C., 1983 African American Art from the Collection, Philadelphia Museum of Art, Philadelphia, 1990 Golden Windows Inside Gold, Whitney Museum of American Art, New York, 1993-1995 Forty-Fourth Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C.
Condition
Excellent
Buyer's Premium
  • 25%

SAM GILLIAM MIXED MEDIA MONOPRINT DAKOTA BEACH

Estimate $3,000 - $6,000
Mar 11, 2018
Starting Price $2,000
11 bidders watching this item
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Ships fromTarpon Springs, FL, United States
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Auction Curated By:

Erin-Marie Wallace
M.A., Sotheby's - UK, Auctioneer & USPAP Certified Appraiser
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item

0005: SAM GILLIAM MIXED MEDIA MONOPRINT DAKOTA BEACH

Sold for $2,000
0 Bids
Est. $3,000 - $6,000Starting Price $2,000
MARCH 11 - A RARE-ERA AUCTION
Sun, Mar 11, 2018 08:00 PM
Buyer's Premium 25%

Lot 0005 Details

Description
...
SAM GILLIAM MIXED MEDIA SCREENPRINT DAKOTA BEACH: SAM GILLIAM (American, b. 1933), Unique monoprint, screenprint in layered colors on rag paper with applied and zipper-stitch sewn collage elements, titled, "Dakota Beach 394", embossed Berghoff-Cowden editions stamp, signed on face, "Dakota Beach 394 Sam Gillium", verso, "Dakota Beach #3-94 SG053", 33.975" x 28.75". ABOUT THE BERGHOFF-COWDEN EDITIONS COLLECTION The Berghoff Art Gallery first opened in the 1980’s as Soho South Gallery in Safety Harbor, Florida. In 1988, Lois Berghoff and Dorothy Cowden evolved the Gallery into the Berghoff-Cowden Editions, a collaborative, screenprint workshop first located in a converted warehouse by the University of Tampa, Florida and ultimately settling in New Port Richey, Florida. The workshop specialized in publishing unique and small editions of hand-pulled screen-prints and monoprints. The environment created within this experimental workshop inspired artists to innovate conventional screen printing techniques in a creative manner never seen before or since. Their editions included hand-painting, collage, flocking, cutting and stitching, paper manipulation such as folding, layering and cutting as well as the incorporation of exotic fabrics and layered Japanese papers. The eclectic creative-processes of the workshop attracted a diverse, global group of renowned artists working in several movements including abstraction, expressionism, realism, sculpture and pattern and decoration. A partial roster of artists who create exceptional works in this space includes: Miriam “Mimi” Schapiro (Canadian, American, b. 1923 – d. 2015), Brad Davis (American, b. 1942), Frank Faulkner (American, 1946), Sam Gilliam (American, b. 1933), Roberto Juarez (American, b. 1952), George Sugarman (American, b. 1912 – d. 1999) and Robert Rahway Zakanitch (American, b. 1935). The workshop also invited Italian artists Marilu Eustachio (Italian, b. 1934), Oliviero Rainaldi (Italian, b. 1956) and Cloti Ricciardi (Italian, 20th / 21st centuries). Recognizing the importance of this collaboration, The Polk Museum of Art in Lakeland, Florida, curated and exhibited a collection of these works from the collection of Dorothy Mitchell entitled, “Expanding Expressions” this exhibit was supported by the Polk Museum of Art, Florida Division of Cultural Affairs and the Florida Arts Council and was exhibited throughout the United States at several prominent museums from 1997 until early 2000. Rare-Era is honored to offer hand-selected pieces from this magical time directly from the Berghoff Personal Collection, these choice examples of the editions have never been offered publicly! Refs. 1.) Lois & Linda Berghoff. 2.) Bennett, Lennie. “Paper as a Malleable Medium,” St. Petersburg Times. Published July 13, 2003, http://www.sptimes.com/2003/07/13/news_pf/Floridian/Paper_as_a_malleable_.shtml, accessed: October 28, 2017. 3.) Bennett, Lennie. “The Leepa-Rattner Msueum of Art Reinvents its Space and its Collection,” Tampa Bay Times. Published November 12, 2011. http://www.tampabay.com/features/visualarts/the-leepa-rattner-museum-of-art-reinvents-its-spaceand-its-collection/1200603 , accessed: October 28, 2017. 4.) Schroeder, Ivy. “Expanding Expressions: Contemporary Master Prints, UM St. Louis’ Gallery 210,” Riverfront Times. Published December 15, 1999, https://www.riverfronttimes.com/stlouis/expanding-expressions-contemporary-masterprints/Content?oid=2475571, Accessed: October 28, 2017. BIOGRAPHY: SAM GILLIAM (American, b. 1933) Born in Tupelo, Mississippi and growing up in Louisville, Kentucky, Gilliam is an African American, Color Field painter who is associated with the Washington Color School, Abstract Expressionism and Lyrical Abstraction. He works on stretched, draped, and wrapped canvas, and adds sculptural 3D and collage elements. Circa 1965, Gilliam was recognized as the first artist to introduce the idea of a painted canvas hanging without stretcher bars, a major contribution to the Color Field School. Gilliam received an MA in painting at the University of Louisville in 1961 and an honorary Doctorate of Humane Letters at the University of Louisville in 1980 and Northwestern University in 1990. Gilliam came to Washington, D.C. in 1962 and joined the second generation of Washington Color Painters. Like the first generation of the group, which included Morris Louis and Kenneth Noland, he was interested in the qualities of color as a material substance in and of itself. He is known for fearlessly utilizing color and pattern and applying huge quantities of acrylic paint and gel across large canvases, occasionally cutting the canvas into geometric shapes; triangles and rectangles, wedges and arcs, and stitching the parts together in an improvisational way which has been compared to jazz music and quilting. Gilliam’s work includes sculpture, painting and a combination of these techniques. This technique is echoed in the monoprints Gilliam produced at the Berghoff-Cowden workshop. While the compositions are flat, the layers and geometry create visual dimension. Gilliam received a Guggenheim Fellowship and the Norman Walt Harris Prize from the Art Institute of Chicago. His work is in the collections of the Museum of African Art and the Corcoran Gallery in Washington, D.C., the Leepa-Rattner and Polk Art Museum in Florida, California African American Museum; Metropolitan Museum of Art, Museum of Modern Art, and National Gallery of Art in New York. In 1987 he was selected by the Smithsonian Art Collectors Program to produce a print to celebrate the opening of the S. Dylan Ripley Center in the National Mall. He donated his talent to produce In Celebration, a 35-color limited-edition serigraph that highlighted his trademark use of color, and the sale of which benefitted the Smithsonian Associates, the continuing education branch of the larger Smithsonian Institution. "In Celebration, 1987 by Sam Gilliam". In early 2009, he again donated his talents to the Smithsonian Associates to produce a 90-color serigraph entitled Museum Moment, which he describes as "a celebration of art." He has exhibited at the Museum of Modern Art, New York City and Walker Art Center, Minneapolis, Minnesota and has an exhibition at the Mnuchin Gallery in New York opening November 2, 2017 (http://www.mnuchingallery.com/exhibitions/sam-gilliam). Other major exhibitions include: Gilliam/Krebs/McGowin, Corcoran Gallery of Art, Washington, D.C., 1969 Gilliam/Edwards/Williams: Extensions, Wadsworth Atheneum, Hartford, Connecticut, 1974 Modern Painters at the Corcoran: Sam Gilliam, Corcoran Gallery of Art, Washington, D.C., 1983 African American Art from the Collection, Philadelphia Museum of Art, Philadelphia, 1990 Golden Windows Inside Gold, Whitney Museum of American Art, New York, 1993-1995 Forty-Fourth Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington, D.C.
Condition
...
Excellent

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