showing 100 of 382 results matching creditline:"Vermillion Archival Collection, Gift of funds from The Northern Star Foundation and The Hersey Foundation". (load 200 more)

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%C2%A9 1980 Steven Sorman

Trick to Being Recognized, 1980

Steven Sorman

Not on View
From a suite of four etchings, each depicting a metaphorical clockface design.

%C2%A9 Philip Larson

Second Stencil (Sullivan & Wright), 1978

Philip Larson

Not on View

%C2%A9 Christine Benson

Chocolate, 1977

Christine Benson; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate Allan D%27Arcangelo %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

State proof for background of "Minnesota Morning", 1978

Allan D'Arcangelo; Printer: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Thomas Rose

Simple though Unlikely, 1978

Thomas Rose

Not on View

%C2%A9 Thomas Rose

Cuttlefish Bones, 1978

Thomas Rose

Not on View
Triptych

%C2%A9 Scott Sandell

Offshore I, 1978

Scott Sandell

Not on View

%C2%A9 Thomas Rose

Untitled, 1978

Thomas Rose

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Truck, 1979

Red Grooms; Project Manager: Brooke Alexander Editions, New York; Publisher: Marlborough Graphics, New York

Not on View
Triptych

%C2%A9 Scott Sandell

Offshore II, 1978

Scott Sandell

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Color run for published print

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Blind intaglio of triangle and rectangle

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
Abstraction featuring a small rectangle and overlapping triangle against a predominantly red background

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View
From a suite of four prints

%C2%A9 Harmony Hammond %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Dance of the Ladder III, 1981

Harmony Hammond; Publisher: Vermillion Editions Limited, Minneapolis

Not on View
Triptych

%C2%A9 Hazel Belvo %2F Vermillion Editions Limited%2C Minneapolis%2C publisher

Night Blooming Cereus, 1980

Hazel Belvo; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Mary Griep

Silver Road, 1978

Mary Griep

Not on View
From a suite of four prints

%C2%A9 Harmony Hammond %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Dance of the Ladder IV, 1981

Harmony Hammond

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Drawing for the shade for 'The Pancake Eater', 1980

Red Grooms

Not on View
Artist's multiple

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

The Pancake Eater, 1981

Red Grooms; Publisher: Brooke Alexander, New York; Publisher: Marlborough Graphics, New York

Not on View

%C2%A9 1977 Steven Sorman

Drawing for first state zinc plate for 'The First Building Project According to What Plan', 1977

Steven Sorman

Not on View
Triptych

%C2%A9 1978 Steven Sorman

Spaces between Words / A Deaf Man Sees, 1978

Steven Sorman

Not on View
Washy composition of large and small, non-descript shapes and overlapping white lines

%C2%A9 1978 Steven Sorman

Explanation of this, 1978

Steven Sorman

Not on View

%C2%A9 1980 Steven Sorman

Trick to Being Recognized, 1980

Steven Sorman

Not on View

%C2%A9 1981 Steven Sorman

Which (A Partial Memory), 1981

Steven Sorman

Not on View
Diptych, right image

%C2%A9 1977 Steven Sorman

The First Building Project According to What Plan, 1977

Steven Sorman

Not on View
Large square grid with juxtaposing red rectangle in LL and LRQs, and square table in its center; gold horizontal and vertical stripes along upper margin; blue horizontal and vertical stripes along bottom margin

%C2%A9 1979 Steven Sorman

The Singing Bridge, 1979

Steven Sorman

Not on View
Diptych, right image

%C2%A9 1978 Steven Sorman

The First Building Project According to What Plan, 1978

Steven Sorman

Not on View
Suite of five color etchings with aquatint on ivory Bodleian laid paper; housed in a handmade paper portfolio with ink-stamped title on cover.

%C2%A9 1980 Steven Sorman

What This Is (Sit Down), 1980

Steven Sorman

Not on View

%C2%A9 1982 Steven Sorman

One (No Two) II, 1982

Steven Sorman

Not on View

%C2%A9 Scott Sandell

Untitled, 1978

Scott Sandell

Not on View
From a suite of four prints representing the four elements of ancient Greek philosophy.

%C2%A9 Virginia Randolph-Bueide

Water, 1978

Virginia Randolph-Bueide

Not on View
From a suite of three prints.

%C2%A9 1980 Steven Sorman

Inside Outside (A Difference in Ages), 1980

Steven Sorman

Not on View

%C2%A9 Ted Palm

Christian Radich, 1981

Ted Palm

Not on View
Diptych, left image

%C2%A9 1978 Steven Sorman

The First Building Project According to What Plan, 1978

Steven Sorman

Not on View
Diptych, left image

%C2%A9 1977 Steven Sorman

The First Building Project According to What Plan, 1977

Steven Sorman

Not on View

%C2%A9 1979 Steven Sorman

The Explanation of This, 1979

Steven Sorman

Not on View
Suite of five color etchings with aquatint on ivory Bodleian laid paper; housed in a handmade paper portfolio with ink-stamped title on cover.

%C2%A9 1980 Steven Sorman

What This Is (Rest), 1980

Steven Sorman

Not on View
Diptych / From a suite of three prints.

%C2%A9 1980 Steven Sorman

Going Out and Coming Back in Again (The Argument), 1980

Steven Sorman

Not on View

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F VG Bild-Kunst%2C Germany

Beuys. Aus Berlin: Neues vom Kojoten (From Berlin: News From the Coyote), 1979

Joseph Beuys

Not on View
multiple in the form of a shopping bag

%C2%A9 Richard Guindon

Untitled (Bag Lady), 1980

Richard Guindon; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View
From a suite of four etchings, each depicting a metaphorical clockface design.

%C2%A9 Philip Larson

Fourth Stencil (Purcell & Elmslie), 1978

Philip Larson

Not on View

%C2%A9 Andrew Leicester

Diamond, 1978

Andrew Leicester

Not on View

%C2%A9 Estate Adja Yunkers

Untitled I, 1978

Adja Yunkers

Not on View
From a suite of five prints

%C2%A9 Estate Adja Yunkers

Icon, 1980

Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate of George Morrison %2F Briand Morrison

Untitled, 1976-1978

George Morrison; Printer: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Truck II, 1979

Red Grooms; Publisher: Brooke Alexander Editions, New York; Publisher: Marlborough Graphics, New York

Not on View

%C2%A9 Estate Adja Yunkers

Untitled III, 1978

Adja Yunkers

Not on View

%C2%A9 1980 Steven Sorman

Rax (Fault), 1980

Steven Sorman

Not on View
Geometric abstraction featuring a rectangular object with a thick black border and light grey center; its base is propped up by small, thin legs on either side

%C2%A9 Steven Beyer

Study for Untitled #1, 1978

Steven Beyer

Not on View
Caricature of former Minnesota Vikings quarterback Fran Tarkenton

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Fran Tarkenton, 1979

Red Grooms; Publisher: Brooke Alexander, New York

Not on View

%C2%A9 Harmony Hammond %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Fan Lady meets Cactus Lady, 1981

Harmony Hammond; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Steven Beyer

Dissolution, 1981

Steven Beyer; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 1978 Steven Sorman

The Letter to Matisse, 1978

Steven Sorman

Not on View

%C2%A9 1978 Steven Sorman

In No Given Place, 1978

Steven Sorman

Not on View

%C2%A9 Estate Allan D%27Arcangelo %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Minnesota Morning, 1978

Allan D'Arcangelo; Publisher: M. Magidson & Assoc.. Inc., San Francisco; Printer: Printed and fabricated by Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate of George Morrison %2F Briand Morrison

Untitled, 1976-1978

George Morrison; Printer: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Steven Beyer

Four Member Family System, 1979-1980

Steven Beyer; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Stephen Hartman

Untitled, 1978

Stephen Hartman; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Christine Benson

Midwest Memento–Cityscape, 1978

Christine Benson; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate Shusaku Arakawa

That in Which I, 1979

Arakawa (Shusaku Arakawa); Publisher: Multiples, Inc., New York

Not on View

%C2%A9 Scott Sandell

Untitled, 1979

Scott Sandell

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Dali Salad II, 1980

Red Grooms; Publisher: Brooke Alexander and Marlborough Graphics, New York; Fabricator: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate Adja Yunkers

Falling Birds, 1978

Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate Adja Yunkers

Icon I, 1978

Adja Yunkers; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Estate Shusaku Arakawa

Point Blank II, 1979

Arakawa (Shusaku Arakawa); Publisher: Multiples, Inc., New York

Not on View
Expressionist sketch of quickly drawn, overlapping lines in red, blue, orange, yellow, green, purple and pink; the lower half of the composition consists of a smaller rectangular drawing characterized by the same lines and a predominantly light blue center

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Study for "Coffee Thyme", 1980

Sam Gilliam

Not on View

%C2%A9 Estate Shusaku Arakawa

That in Which III, 1979

Arakawa (Shusaku Arakawa); Publisher: Multiples, Inc., New York

Not on View

%C2%A9 1978 Steven Sorman

Not in Any Given Place, 1978

Steven Sorman

Not on View

%C2%A9 Joseph Breidel

Letters from the Sea, Unfolded, 1979

Joseph Breidel

Not on View

%C2%A9 Paul Rotterdam

Minnesota II, 1981-1982

Paul Rotterdam

Not on View
Frame for the interior image; a stone window seen from the outside, surrounded by disquieting imagery--a barrel full of human bones LR, a body visible from behind some shrubs in the foreground, a roof covered in vines and ravens

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Drawing for the house for 'The Pancake Eater', 1980

Red Grooms

Not on View

%C2%A9 Estate Eugene Larkin

Transformations, 1978

Eugene Larkin; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Bruce A. Anderson

Conversation, 1981

Bruce Anderson; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 1978 Steven Sorman

Lewis and Clark, 1978

Steven Sorman

Not on View

%C2%A9 Estate Shusaku Arakawa

Point Blank I, 1979

Arakawa (Shusaku Arakawa); Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 James Rosenquist %2F Licensed by VAGA at Artists Rights Society %28ARS%29%2C NY

Alphabet Avalanche, 1979

James Rosenquist; Printer: Vermillion Editions Limited, Minneapolis; Publisher: Vermillion Editions Limited, Minneapolis , and James Rosenquist

Not on View

%C2%A9 Estate Shusaku Arakawa

Tomb of Chance I, 1974-1980

Arakawa (Shusaku Arakawa); Publisher: Arakawa (Shusaku Arakawa)

Not on View
Decorative composition featuring seven semi-circles in a vertical row; all the same shape, with their own design and colors

%C2%A9 Stuart Nielsen

Study for an untitled multiple, 1979

Stuart Nielsen

Not on View
Large blue rodent within a tight, pink and green enclosure; it sniffs a rodent trap in the foreground; a beam of yellow light shines from a hole behind it

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Mid-Rats, 1980

Red Grooms

Not on View
Female nude (center) with her leg raised, holding a whip; man crouched at her feet on R; dog on a chair behind her, L; empty bird cage, UR; hanging, hand-cuffed figure UR

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Sketches for the shade for 'The Pancake Eater', 1980

Red Grooms

Not on View
From a suite of four etchings depicting four distinct phases in the life cycle of the periodical cicada. The two intersecting lines dividing the image into four quadrants allude to the "four corners" are of the Southwestern United States, where Utah, Colorado, Arizon, and New Mexico meet and where the artist first encountered her subject.

%C2%A9 Nancy Randall

The Four Corners, Plate I, 1980

Nancy Randall

Not on View
Repetitious, gestural brushstrokes against a plain white background

%C2%A9 Steven M. Andersen

Sketch for shade texture for 'The Pancake Eater', 1980

Steven M. Andersen

Not on View
Pair of knee-high, lace-up boots on L; hanging whip on R; curtain skirt around borders; other nondescript images in light blue graphite throughout

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Drawing for curtain for 'The Pancake Eater', 1980

Red Grooms

Not on View
From a suite of four etchings depicting four distinct phases in the life cycle of the periodical cicada. The two intersecting lines dividing the image into four quadrants allude to the "four corners" are of the Southwestern United States, where Utah, Colorado, Arizon, and New Mexico meet and where the artist first encountered her subject.

%C2%A9 Nancy Randall

The Four Corners, Plate III, 1980

Nancy Randall

Not on View
From a suite of four etchings depicting four distinct phases in the life cycle of the periodical cicada. The two intersecting lines dividing the image into four quadrants allude to the "four corners" are of the Southwestern United States, where Utah, Colorado, Arizon, and New Mexico meet and where the artist first encountered her subject.

%C2%A9 Nancy Randall

The Four Corners, Plate II, 1980

Nancy Randall

Not on View
diptych (a-left image; b- right image)

%C2%A9 1977 Steven Sorman

First Building Project According to What Plan, 1977

Steven Sorman

Not on View
Scene with four nude people and a dog; a female nude (center) has her leg raised with her foot in the mouth of a person crouched below her, LL; a dog and third person behind her on R; a person hangs upside down on L as the female taunts him/her with a whip

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Sketches for the shade for The Pancake Eater, 1980

Red Grooms

Not on View
Dog on hind legs, L, leaning against a woman in the act of fellatio, LR; two additional figures, LL and C; caged-bird, UC

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Sketches for the shade for 'The Pancake Eater', 1980

Red Grooms

Not on View
From a suite of four etchings depicting four distinct phases in the life cycle of the periodical cicada. The two intersecting lines dividing the image into four quadrants allude to the "four corners" are of the Southwestern United States, where Utah, Colorado, Arizon, and New Mexico meet and where the artist first encountered her subject.

%C2%A9 Nancy Randall

The Four Corners, Plate IV, 1980

Nancy Randall

Not on View
four overlapping trapezoids with different designs; bottom two with color (red, green and blue); top two without color

%C2%A9 Stuart Nielsen

Study for "Quartet", 1979

Stuart Nielsen

Not on View

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Lorna Doone, 1980

Red Grooms; Publisher: Brooke Alexander, New York; Publisher: Marlborough Graphics, New York

Not on View

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Mid-Rats, 1981

Red Grooms; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Al Dornisch

Mallards, 1978

Al Dornisch

Not on View
Abstraction featuring a small rectangle and overlapping triangle in the lower half of the page; the surrounding space is a blend of colors, predominantly red, yellow and blue

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme I, 1980

Sam Gilliam

Not on View

%C2%A9 Sam Gilliam%2C Courtesy Steven Andersen%2C Vermillion Editions%2C Ltd.

Coffee Thyme II, 1981

Sam Gilliam; Printer: Vermillion Editions Limited, Minneapolis

Not on View
Artist's multiple

%C2%A9Red Grooms %2F Artists Rights Society %28ARS%29%2C New York

Peking Delight, 1979

Red Grooms; Publisher: Co-published by Brooke Alexander, New York; Publisher: Co-published by Marlborough Graphics, New York; Printer: Printed and fabricated at Vermillion Editions Limited, Minneapolis

Not on View

%C2%A9 Gary L. Johnson

Puzzle Intaglio, 1978

Gary L. Johnson; Publisher: Vermillion Editions Limited, Minneapolis

Not on View

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