Pool Drawing (diving board on right) - David Hockney

David Hockney Pool Drawing (diving board on right)

Untitled (ff3) - Jonas Wood

Jonas Wood Untitled (ff3)
Provenance: Acquired from the artist; private collection, Redondo Beach, CA

Peinture 43 x 43 cm, le Mai 1997 - Pierre Soulages

Pierre Soulages Peinture 43 x 43 cm, le Mai 1997

Sunflower - David Hockney

David Hockney Sunflower
Unique hand-coloured pressed paper pulp, on yellow TGL handmade paper, 1978

Size: 42 x 42 in : 106.7 x 81.3 cm

Untitled (Corner of Desire and Piety) iii - Mark Bradford

Mark Bradford Untitled (Corner of Desire and Piety) iii

Objet Plastique No. 635 -

Objet Plastique No. 635

Sheet: 13 1/16 x 23 3/16 in : 33.1 x 58.9 cm
An artist's proof aside from the edition of 40
Signed and dated by the artist lower right
Publisher: 	Hamilton Press
Printer: Ed Hamilton - Ed Ruscha

Ed Ruscha Roadmaster Lithograph 2003 Sheet: 13 1/16 x 23 3/16 in : 33.1 x 58.9 cm An artist's proof aside from the edition of 40 Signed and dated by the artist lower right Publisher: Hamilton Press Printer: Ed Hamilton

Exhibiting Artists

Other Represented Artists

  • Banksy  (+)
  • Eduardo Chillida

  • Dadamaino

    Biography : Dadamaino was born Eduarda Emilia Maino in 1935 in Milan. Self-taught, Dada (a phonetic truncation of Eduarda) was drawn to art after studying at medical school, and by meeting Piero Manzoni in 1957, who would become a life-long friend. In 1958 she aligned herself with the Milanese avant-garde and created her first substantial body of work, the Volumi: pierced canvases which recall Fontana’s Buchi. This same year Dadamaino had her first solo show at the Galleria dei Bossi in Milan. In 1959 she joined the Milan-based experimental group Azimuth (founded by Bonalumi, Castellani and Manzoni) which had connections with the Zero Group in Germany, as well as Group Nul in the Netherlands, and Groupe Motus in France. In 1961 the artist took part in a show in the Netherlands, where her name was mistakenly spelt as one word: Dadamaino. Soon, charmed, she would adopt this name entirely. In 1962 her work was featured in the major Nul group exhibition at the Stedelijk Museum in Amsterdam. This same year she joined the newly founded Nouvelle Tendence movement whose members included Getulio Alviani, Bruno Munari, Jesús Raphael Soto and Enzo Mari. In the first half of the decade, particularly fascinated with the idea of movement she created a series of optical-dynamic objects, these were followed by the Ricerca del colore (1966-68) in which she undertook a scrupulous analysis of the solar spectrum’s chromatic combinations. Dadamaino's cycle I fatti della vita was shown in a solo room at the Venice Biennale in 1980. Three years later a large retrospective of her work was organized by the Padiglione d’Arte Contemporanea (PAC) in Milan, and in 1990 she participated again in the Venice Biennale. A full retrospective of her work was mounted by the Bochum Museum in 2000.

  • Sam Francis  (+)

    Biography : Sam Francis was an American painter and printmaker, celebrated for his colourful abstract works. Encouraged to paint by David Park, Francis had already developed an abstract style before his formal training at Berkeley at the end of the 1940s. In school, he developed at an early stage the measuredly frenetic use of vivid blots of color and splashes of thinned pigments that is his trademark. Although drawn to the work of abstract expressionists Mark Rothko, Arshile Gorky and Clyfford Still, he remained quite independent from any one defining influence from that revolutionary group. His paintings in the 1956 "Twelve Americans" exhibition at the Museum of Modern Art in New York earned him a condsiderable international reputation. Francis spent the 1950s in Paris, having his first exhibition there in 1952, although he travelled extensively. In Paris he began executing entirely monochromatic works, which are greatly revered, but that short-lived period soon made way for a return to a profusion of brilliant colours, overlapping and dripping. In the early 1960s, Francis began his "Edge" series in which paint is sometimes confined to the margins of the work, with the centre left empty and white. It is often thought that influences from Japanese painting led to this period of the artist's work. Francis returned to California and continued painting, mainly in Los Angeles, but also in Tokyo where he lived primarily in 1973-4. Paintings by Sam Francis can be found in international museum collections including those of The Metropolitan Museum of Art, The Museum of Modern Art, New York, The Kunstmuseum Basel, and the Centre Pompidou-Musee National d'Art Moderne, Paris.

    Also represented by:

  • Helen Frankenthaler  (+)

    Biography : Helen Frankenthaler was an American Abstract Expressionist painter and one of the founding artists of the Color Field group of painters. Frankenthaler studied at the Dalton School under Rufino Tamayo and also at Bennington College in Vermont. In 1950, she met Clement Greenberg and began a relationship with him. She became a contemporary and colleague of Jackson Pollock, Hans Hoffmann and Kenneth Noland and was married in 1958 to Robert Motherwell. They were known in New York society as 'The Golden Couple' on account of their fame and lavish entertaining. Frankenthaler pioneered the process of painting directly onto unprepared canvas, a technique that became known as 'soak stain'. This technique was adopted by Jackson Pollock and then by other Color Field painters, notably Morris Louis. She was hugely influential, the worst criticism she seemed to suffer in her career was for her work to be damned “merely beautiful”, and until her death in 2011 was regarded as one of America's most important living painters. Frankenthaler has been exhibited internationally since the early 1950s, and has had several retrospective exhibitions, including at MoMA in 1989. Her work is held in the following collections, and over forty others: Germany Sammlung Alison & Peter W. Klein, Eberdingen-Nussdorf Städtisches Museum Abteiberg, Mönchengladbach United Kingdom Ulster Museum, Belfast (Northern Ireland) Kettle's Yard, Cambridge, Cambridgeshire (England) Tate Britain, London (England) USA MFA - Museum of Fine Arts, Boston, Boston, MA MIT List Visual Arts Center, Cambridge, MA MFAH - Museum of Fine Arts Houston, Houston, TX MOCA - Museum of Contemporary Art Jacksonville, Jacksonville, FL Los Angeles County Museum of Art - LACMA, Los Angeles, CA Walker Art Center, Minneapolis, MN MoMA - Museum of Modern Art, New York City, NY Norton Simon Museum of Art, Pasadena, CA Phoenix Art Museum, Phoenix, AZ Portland Museum o

    Also represented by:

  • Lucian Freud

    Biography : In the mid-1940s Graham Sutherland, an influential British artist, gave his friend Lucian Freud a set of his own etching tools as a gift. Freud had made two linocuts in 1936, and a single pen lithograph in 1944: they were not notable successes. Sutherland, who was a keen sponsor of the young Freud’s work, thought Freud’s draughtsman-like, direct, almost miniaturist style was much more suited to the etching plate. Freud began tentatively, his first etching was produced in the modest edition size of only 3 copies, his second only 4. By 1948, he had executed just 6 etchings, a mere 30 prints in total. Surprisingly, that would remain the case for another 34 years. By the early 1950s, Freud had arrived at the conclusion that his advancement as an artist was being hampered by his overtly linear style, which was also the defining manner of his paintings. Freud blamed his drawing, and as an extension of that, his etching. From that time, until 1982, Freud worked solely as a painter. The inducement to restart his etching career came from Lawrence Gowing, who had written a monograph on Freud. The deluxe edition of 100 copies of the book, Gowing requested, should contain one of four etchings printed in an edition of 25. Upon returning to etching, having spent so many years in which he had only painted, Freud found his line was looser and more gestural. Thus encouraged, printmaking almost replaced the role of drawings in his work for a period. By the end of 1982, Freud had added 15 etchings to his total. Not all were published, as some were the exploratory works of an artist seeking to regain his confidence in the medium. These efforts helped assuage Freud’s concerns over the effect of the graphic arts upon his painting, although by this time his doubts could have retained little foundation: Freud’s now familiar, heavily impastoed style of painting must have been unassailable. If anything Freud’s etchings had become closer to his paintings, especially



ARCHEUS / POST-MODERN w: Brian Balfour-Oatts Alastair Brake