-
Acanthus
(From the Fruits and Flowers Suite)
1994
Screenprint
Signed, dated, and numbered in pencil
23 x 22 in. (58.4 x 56 cm.)
Edition of 125
-
Black and Blue *
2008
Original screenprint in colors on wove paper
Signed by the artist in pencil, dated and numbered
24 x 21 1/2 in. (61 x 54.6 cm), unframed
Edition of 190
-
Blue Poppies *
2015
Painted aluminium on polished aluminum base
Signed, titled, dated and numbered
24 1/2 x 24 1/4 x 3 in. (62 x 61 x 7.6 cm)
Edition of 25
-
Blue Poppy *
2014
Screenprint in colors with enamel inks and textured surface on museum board
Signed, titled, dated and numbered by the artist in pencil
60 x 60 inches (152.5 x 152.5 cm)
Edition of 30
-
Blue Poppy *
2015
Screenprint with enamel inks and flocking on museum board
Signed by the artist in pencil, dated and numbered
46 x 46 in (117 x 117 cm), unframed
Edition of 40
-
Blues, Sept. 20th
2008
Screenprint with flocking
Signed, dated and numbered by the artist in pencil
24 x 24 inches (61 x 61 cm)
Edition of 75
-
Blues, Sept. 24th
2008
Screenprint with flocking
Signed, dated and numbered by the artist in pencil
24 x 24 inches (61 x 61 cm)
Edition of 75
-
Dried Roses
1998
(from the Visual Poetics portfolio)
Screenprint in colors on velin Coventry paper
Signed, dated and numbered in pencil by the artist
16 x 16 in.(40.5 x 40.5 cm),unframed
Edition of 395
-
Eight Poppies
2010
Screenprint with flocking on Museum Board
Signed, dated and numbered (along the left vertical border)
20 x 37 in. (51 x 94 cm.), unframed
Edition of 75
-
Lilies *
1998
Original screenprint in colors on wove paper
Signed in pencil, dated and numbered (along the left margin, vertically)
26 x 21 ¼ in. (66 x 54 cm), unframed
Edition of 70
-
Mimosas
2008
Original screenprint in colors
Signed by the artist in pencil, dated and numbered
27 1/2 x 39 1/4 in (70 x 99.7 cm), unframed
Edition of 108
(Published by Lincoln Center for the Performing Arts, NYC)
-
Pomegranates
(from the Fruits and Flowers suite)
1994
Screenprint
Signed and numbered
23 x 22 in
Edition of 125
-
Poppies, June 3, 2011 (White) *
2011
Color silkscreen with flocking and tar-like texture on Rising, white 2-ply museum board
Signed in pencil, dated and numbered
39 x 39 inches (99 x 99 cm), unframed
One of three numbered printers proofs outside of the edition of 30
-
Red Poppies July 24, 2012 *
2012
Screenprint with tar and flocking
Hand signed, dated and numbered
22 x 38.75 in. (55.9 x 98.4 cm.)
Edition of 75
-
Reds and Blacks *
2008
Screenprint with flocking
Signed, dated and numbered by the artist in pencil
52 x 76 inches (132 x 193 cm)
Edition of 50
-
Smoke Rings (August 13, 2001)
2001
Digital Inkjet Print
Signed and numbered
23 x 23 in
Edition of 75
-
Yellow Peppers *
(from the Fruits and Flowers suite)
1994
Screenprint
Signed and numbered
23 x 22 in
Edition of 125
-
Yellow Poppy *
2014
Screenprint in colors with enamel inks and textured surface on museum board
Signed, titled, dated and numbered by the artist in pencil
60 x 60 inches (152.5 x 152.5 cm)
Edition of 30
-
Red Poppy *
2014
Screenprint in colors with enamel inks and textured surface on museum board
Signed, titled, dated and numbered by the artist in pencil
60 x 60 inches (152.5 x 152.5 cm)
Edition of 30
-
Smoke Rings (Oct 16, 2005)
2005
Archival pigment print
Signed, dated, titled and numbered by the artist in pencil
34 x 34 inches (86 x 86 cm)
Edition of 75
-
Smoke Rings (Nov 12, 2001)
2001
Digital Inkjet Print
Signed and numbered
23 x 23 in
Edition of 75
-
Yellow Mimosas *
2015
15-color screenprint with white flocking on museum board
Signed, titled, dated and numbered by the artist in pencil
32 x 45 inches (81.3 x 114.3 cm)
Edition of 50
-
Orange Flowers *
1996
Screenprint in colors
Signed, dated and numbered by the artist in pencil
18 x 13 inches (45.7 x 33 cm)
Edition of 100
-
Lantern Flowers, May 10, 2012 (Coral)
2012
Silkscreen with enamel inks and flocking on 2-ply museum board
Signed, dated and numbered by the artist in pencil
24 x 24 inches (61 x 61 cm)
Edition of 50
-
Lantern Flowers, May 10, 2012 (White)
2012
Silkscreen with enamel inks and flocking on 2-ply museum board
Signed, dated and numbered by the artist in pencil
24 x 24 inches (61 x 61 cm)
Edition of 50
-
Four Reds, September 30, 2002 *
Color screenprint with collage on white Somerset
Signed by the artist in pencil, dated and numbered
Edition of 150
22 x 28.2 inches (55.9 x 71.6 cm)
-
Black and Red *
2007
Screenprint with flocking
Signed, dated and numbered
24 x 24 in
Edition of 75
-
Black Poppies *
2007
Screenprint with flocking
Signed, dated and numbered
24 x 24 in
Edition of 75
-
Blues and Blacks *
2008
Screenprint with flocking
Signed and numbered
52 x 76 in
Edition of 25
-
Butterflies
2006
20-color screenprint with flocking
Signed, dated and numbered by the artist in pencil
38 x 38 inches (96.5 x 96.5 cm)
Edition of 75
-
Monarchs
2006
22-color screenprint with flocking
Signed, dated and numbered by the artist in pencil
38 x 38 inches (96.5 x 96.5 cm)
Edition of 75
-
Eight Whites *
2008
Screenprint with flocking
Signed and numbered |
58 x 58 in
Edition of 50
-
Five Lemons, a Pear and an Egg *
(from the Fruits and Flowers suite)
1994
Screenprint
Signed and numbered
23 x 22 in
Edition of 125
-
Five Reds *
2008
Screenprint with flocking
Signed and numbered
60 x 60 in
Edition of 10
-
Five Whites *
2008
Screenprint with flocking
Signed and numbered
60 x 60 in
Edition of 10
-
Morning Glories I *
1991
Aquatint
Signed and numbered
60 x 48 in
Edition of 60
-
Morning Glories II *
1991
Aquatint
Signed and numbered
60 x 48 in
Edition of 60
-
Pomegranates I *
Aquatint
Signed and numbered
40 x 30 in
Edition of 60
-
Pomegranates II *
Aquatint
Signed and numbered
40 x 30 in
Edition of 60
-
Pomegranates III *
Aquatint
Signed and numbered
40 x 30 in
Edition of 60
-
Poppies, June 4, 2011 (Coral) *
2011
Color silkscreen with flocking and tar-like texture on Rising, white 2-ply museum board
39 x 39 inches (99.1 x 99.1 cm)
Edition of 30
-
Poppies, June 5, 2011 (Aqua) *
2011
Color silkscreen with flocking and tar-like texture on Rising, white 2-ply museum board
39 x 39 inches (99.1 x 99.1 cm)
Edition of 30
-
Red and Black *
Red and Black
2007
Screenprint with flocking
Signed, dated and numbered
24 x 24 in
Edition of 75
-
Red Poppies *
2007
Screenprint with flocking
Signed, dated and numbered
24 x 24 in
Edition of 75
-
Smoke Rings (June 6, 2001) *
2001
Digital Inkjet Print
Signed and numbered
23 x 23 in
Edition of 75
-
Smoke Rings (Dec 2, 2001) *
2001
Digital Inkjet Print
Signed and numbered
23 x 23 in
Edition of 75
-
Three Reds *
2007
Screenprint with flocking
Signed, dated and numbered
24 x 24 in
Edition of 75
-
Six Yellows *
2007
Screenprint
Signed and numbered
30 x 38 in
Edition of 60
-
Two Pears, a Lemon and an Egg
(from the Fruits and Flowers suite)
1994
Screenprint
Signed and numbered
23 x 22 in
Edition of 125
Donald Sultan (born 1951) is one of the leading American contemporary still life artists. He currently lives and works in New York.
Born in 1951 in Asheville, North Carolina, Donald Sultan received his BFA from the University of North Carolina, Chapel Hill and his MFA from the School of the Art Institute in Chicago. He moved to New York in 1975. The work of Donald Sultan is voluminous and varied. Since his first one-man show in 1977, he has enjoyed a distinguished career as painter, printmaker, and sculptor. His extensive body of work has placed him at the forefront of contemporary art, where he has become best known for his ability to successfully merge the best of yesterday’s artistic tradition with a fresh, modern approach that is unique.
Although his paintings fit into the criteria of a still life, Sultan describes these works as first and foremost abstract. The largeness of Sultan’s compositions, huge pieces of fruit, flowers, dominoes and other objects, set against the stark, unsettling tar-black, eight-foot square background, dominate the viewer. He is best known for his lemons, flowers and fruit, and states that his subjects develop from previous work. For example: the oval of his lemons has led to a series of oval-blossomed tulips, dots from dice have become oranges. What does not change with Sultan’s work is the powerful statement his forms make. Sultan’s work incorporates basic geometric and organic forms with a formal purity that is both subtle and monumental. His images are weighty, with equal emphasis on both negative and positive areas. Sultan describes his work as “heavy structure, holding fragile meaning” with the ability to “turn you off and turn you on at the same time.” Sultan’s still lifes have been described as studies in contrast. His powerfully sensual, fleshy object representations are rendered through a labor-intensive and unique method.
Sultan has been given numerous exhibitions dedicated to his work, as well as having been included in a number of group shows. Sultan has received two honorary doctorate degrees from The Corcoran School of Art in Washington D.C. and the New York Academy of Art. His work is included in the permanent collection of many prestigious institutions including: The Museum of Modern Art in New York, Solomon R. Guggenheim Museum in New York, Tate Gallery in London, Hirshorn Museum and Sculpture Garden in Washington, D.C., Whitney Museum of American Art in New York, and the Metropolitan Museum of Art in New York.
Sultan, Donald
Born in 1951 in Asheville, North Carolina, Donald Sultan received his BFA from the University of North Carolina, Chapel Hill and his MFA from the School of the Art Institute in Chicago. He moved to New York in 1975. The work of Donald Sultan is voluminous and varied. Since his first one-man show in 1977, he has enjoyed a distinguished career as painter, printmaker, and sculptor. His extensive body of work has placed him at the forefront of contemporary art, where he has become best known for his ability to successfully merge the best of yesterday’s artistic tradition with a fresh, modern approach that is unique.
Although his paintings fit into the criteria of a still life, Sultan describes these works as first and foremost abstract. The largeness of Sultan’s compositions, huge pieces of fruit, flowers, dominoes and other objects, set against the stark, unsettling tar-black, eight-foot square background, dominate the viewer. He is best known for his lemons, flowers and fruit, and states that his subjects develop from previous work. For example: the oval of his lemons has led to a series of oval-blossomed tulips, dots from dice have become oranges. What does not change with Sultan’s work is the powerful statement his forms make. Sultan’s work incorporates basic geometric and organic forms with a formal purity that is both subtle and monumental. His images are weighty, with equal emphasis on both negative and positive areas. Sultan describes his work as “heavy structure, holding fragile meaning” with the ability to “turn you off and turn you on at the same time.” Sultan’s still lifes have been described as studies in contrast. His powerfully sensual, fleshy object representations are rendered through a labor-intensive and unique method.
Sultan has been given numerous exhibitions dedicated to his work, as well as having been included in a number of group shows. Sultan has received two honorary doctorate degrees from The Corcoran School of Art in Washington D.C. and the New York Academy of Art. His work is included in the permanent collection of many prestigious institutions including: The Museum of Modern Art in New York, Solomon R. Guggenheim Museum in New York, Tate Gallery in London, Hirshorn Museum and Sculpture Garden in Washington, D.C., Whitney Museum of American Art in New York, and the Metropolitan Museum of Art in New York.