Ancient Imperial Horses
Price on request
Silkscreen printed in black, a fine, fresh impression of the only state, the full sheet, printed on white 335gsm Somerset paper, nearly to the edges, hand-signed, dated, and numbered in pencil by the artist on the reverse (the Bon á Tirer proof is titled verso), executed in an edition of 48 examples (there were also 4 numbered Artist Proofs, 4 annotated and numbered World House Editions proofs, 3 numbered Printers Proofs, 1 proof for the Cabinet des Estampes/Musée d’art et d’histoire, Geneva, 1 Bon á Tirer proof and 2 dedicated proofs) printed by Luther Davis at Axelle Editions, Brooklyn, published by World House Editions, Middlebury, Connecticut, in fine condition, unframed.
Tallman, Susan. “Edition Reviews: A – Z“, review in Art in Print, volume 4, number 6, March-April 2015, pp.10-11, illustrated (another example).
Ostrow, Judy. “Early Holiday Shopping: Prints, Anyone?“, review in At Home in Fairfield County, November 2014, direct link at http://www.athomefc.com/ah/Design-Notes-2014/Early-Holiday-Shopping-Prin…
John Armleder has been using the dot motif since the late 1970s and they can be found in the artist’s paintings, drawings, prints and even multiple objects. Clearly paying homage to such avant-garde artists as Francis Picabia, Alexander Rodchenko, Larry Poons and even Tom Downing, John Armleder, through his notion of appropriation, has raised the simple, optical concept and arrangement of dots from a pure mode of abstract pictorial composition to a systematic concept of representation and perhaps even structural analysis.