Friends of Prints,
Drawings & Photographs

Martin Lewis: Misty Night, Danbury

Available Commissions

To purchase these FPDP commissions, contact Elisia Wheeler in the Department of Prints, Drawings, and Photographs at 313.833.9830 or

All sales are limited to two works per person; dealers and galleries are unable to participate in this sale. Images of the works can be emailed or sent to you via conventional mail for your study purposes. Purchases of the Bailey or Fish print include a one-year membership to the FPDP. Proceeds from all sales are deposited in the Forum's Purchase Fund and used toward the acquisition of prints, drawings, and photographs for the DIA collection.

Streamlines - Terry Winters


Artist: Terry Winters, American, born 1943
Date: 2007
Medium: Intaglio and lithograph printed in four colors
Size: plate: 14 x 11 inches; sheet: 21 x 17 inches

Edition: 30 impressions signed and numbered by the artist (with 1/30 automatically deposited in the collection of the Museum of Modern Art, New York, per lifetime arrangement between ULAE and MOMA and 2/30 automatically deposited in the collection of the Detroit Institute of Arts) plus artist’s proofs and printer’s proofs; printed by Universal Limited Art Editions (the ULAE drystamp is applied just above the edition number on each print); published by the FPDP/DIA.

Price: $950 plus 6% sales tax.

About the Print: The subject is Winters’ signature pseudoscientific biomorphic imagery presented in his vivid gestural style. Winters stated that he has thought about combining intaglio and lithography techniques in one print for years but never actually attempted it –until this edition. His printmaking career has been defined by his interest in mastering all the traditional mediums and exploring several unconventional ones. With Streamlines, Winters feels he has crossed into a new dimension of discovery that will lead to further experimentation and invention.

About the Artist: Terry Winters was born in Brooklyn, New York, and received his BFA from the Pratt Institute in 1971. His first solo NY exhibition took place at the Sonnabend Gallery in 1982 and his work was included in the Whitney Biennials of 1985, 1987, and 1995. His prints, drawings, and paintings can be found in museums and collections around the world and he has shown his work annually over the decades in a variety of venues. In 1998, the DIA presented a full survey of his accomplishments as a printmaker in the exhibition Terry Winters Prints 1982-1998.

Detroit Still Life - William Bailey

Detroit Still Life

Artist: William Bailey, American, born 1930
Date: 2003
Medium: Etching and aquatint printed in two colors
Size: plate/image: 11 x 13 inches; sheet: 21 ½ x 24 inches

Edition: 50 signed and numbered by the artist, printed by Felix Harlan and Carol Weaver at Harlan & Weaver, Inc., New York, NY. (The full edition includes an additional 10 retained by the artist, 4 by the printers, and 37 various state proofs divided between Mr. Bailey and the DIA); published by the FPDP/DIA.

Price: $950 plus 6% sales tax.

About the Print: Quiet still lifes are one half of Bailey’s two principal thematic preoccupations. Nudes in interiors are his other. While his pictures look like precisely arranged and meticulously rendered realistic tabletop scenes, they are not. The configuration of cups, saucers, bowls, and containers of many descriptions are real objects in Bailey’s world but the compositions are drawn completely from his memory and imagination. A close study of the spatial relationships between the objects on the table and the surrounding areas also usually reveals perspectives that are impossible to see in nature. Bailey’s drawing skills are so great that he can lull viewers into believing that they are looking at straightforward, simply observed things when just the opposite is true. This particular print was made from two plates. All the etching is printed in black ink from a single plate. The subtle, light yellow stucco-like background was printed in aquatint from a second plate. Bailey worked the composition through forty-four states to achieve the delicate balances that makes it a classic example of his printmaking style.

About the Artist: William Bailey was born in Council Bluffs, Iowa and studied at Yale University. In addition to exhibiting regularly since the 1950s, he has taught regularly at the university level at Indiana and Yale. His paintings, drawings, and prints can be found in the collections of most American museums, as well as hundreds of private and corporate collections. Bailey is an elected member of the American Academy and Institute of Arts and Letters, the National Academy of Design, and the National Council on Arts.

Treille - Janet Fish

Art © Janet Fish / Licensed by VAGA, New York, NY

Reproduction of this image, including downloading, is prohibited without written authorization from VAGA, 350 Fifth Avenue, Suite 2820, New York, NY 10118. Tel. 212-736-6666; Fax 212-736-6767; email:

Treille (French: “grape vine”)

Artist: Janet Fish, American, born 1938
Date: 1996
Medium: Screenprint printed in eleven colors
Size: image: 26 x 18 inches; sheet: 29 ¾ x 21 ¾ inches

Edition: 60 signed and numbered by the artist, printed by Norman Stewart and Joe Keenan at Stewart & Stewart in Bloomfield Hills, MI (The full edition includes an additional 22 retained by the artist, 22 by Stewart & Stewart, 1 by the printer, and 14 various proofs by the DIA and Stewart & Stewart of which 11 are color progressive proofs now at the DIA); published by the FPDP/DIA.

Price: $950 plus 6% sales tax.

About the Print: Sophisticated screenprint materials and means are used to realize a classic still life subject by Janet Fish. Her work is an exploration of visual phenomena such as reflection and transparency, the nuances of color and complex patterning, and the creative act of composing on a large scale. Technically, this is a tour de force that that shows the depth and complexity possible in screenprint. It was printed in eleven steps using translucent inks. Because the eleven inks are of various viscosities, they blend on top of each other as the image progresses to create an almost incalculable number of new colors in the final state. The medium is perfectly suited to Fish’s painterly sensibilities. The printers and artist worked side-by-side to create this lively composition that suggests the movement of vibrant light over a busy surface.

About the Artist: Janet Fish was born in Boston, Massachusetts. She received her BA from Smith College and her MFA from Yale University. Her paintings, drawings, and prints are represented in many private and corporate collections and public institutions including The Metropolitan Museum of Art, the Whitney Museum of American Art, The Art Institute of Chicago, The Cleveland Museum of Art, Dallas Museum of Art, the Museum of Fine Arts in Boston, and the Pennsylvania Academy of Fine Arts.

Hand-Drawn, Light-Printed - Robert Rauschenberg

Art © Robert Rauschenberg / Licensed by VAGA, New York, NY

Reproduction of this image, including downloading, is prohibited without written authorization from VAGA, 350 Fifth Avenue, Suite 2820, New York, NY 10118. Tel. 212-736-6666; Fax 212-736-6767; email:

Hand-Drawn, Light-Printed

Artist: Robert Rauschenberg, American, 1925-2008
Date: 1980
Medium: Off-set lithograph printed in color on mylar (a transparent polyester) after the original cliché-verre commissioned from Rauschenberg
Size: image: 23 x 18 inches; sheet: 24 7/7 x 18 ¾ inches

Edition: 200 signed and numbered prints and an additional 800 unsigned, printed by Briget Smith of Litho/Color; published by the FPDP/DIA.

Price: $250 to FPDP members; $300 to DIA (non FPDP) members; $350 to the general public, plus 6% sales tax (signed prints are not available).

About the Print: Knowing about his interest in experimental printmaking and photography, Rauschenberg was approached to make an original cliché-verre to be included in the exhibition Cliché-verre: Hand-Drawn, Light-Printed. This was the inaugural show for the DIA’s Schwartz Galleries of Prints and Drawings. Cliché-verre is a way of making inkless images using only light as the exposing agent on surfaces/supports/papers that have been treated with light-sensitive chemicals. The technique has been practiced since the nineteenth century. Until his involvement with this project, Rauschenberg had never tried the medium. The image he created was made by exposing the objects seen in the image–an actual bicycle wheel, a glass jar, a sprig of flowers, bits of cut-up and rearranged letters from a variety of prints sources, cut-up photographic negatives, textiles, and other things–on a light-sensitive surface. When exposed to light, these objects all acted as blocking out agents on the support/paper beneath them while the areas around them turned dark. To make the edition of lithographs, Rauschenberg’s cliché-verre was photographed meticulously with a complex system of exposures which were transferred to a photosensitive lithograph surface. The image was then printed via conventional off-set lithographic means.

About the Artist: Robert Rauschenberg was born in Port Arthur, Texas. In the late 1940s after having served in the navy and into the early 1950s, he studied at the Kansas City Art Institute, the Académie Julian in Paris, Black Mountain College in North Carolina, and the Art Students League in New York. He has been recognized as among the most influential and prolific artists in the world beginning with his first successes in New York in the 1950s. He worked in all media, typically combining elements of painting, sculpture, drawing, printmaking, and photography freely with found objects in manners that defied conventional practices and definitions. His first career retrospective was organized by the Jewish Museum, NY in 1963. Countless exhibitions of his work have been mounted over the decades including a mega-retrospective organized by the Guggenheim Museum, NY, in the late 1990s. In 1964, he was the first American to have ever been awarded the Grand Prize for Painting at the Venice Biennale. Throughout his career, he collaborated with other artists and colleagues from a variety of professions to create organizations or projects such as E.A.T. in the 1970s, or R.O.C.I. in the 1980s to expand the reach of art in the world. He also worked in the area of performance art, theater set design, and choreography.

1939 Packard V-12 Coupe - Robert Traniello

1939 Packard V-12 Coupe

Artist: Robert Traniello, American, born 1934
Date: First photographed in 1985 for the first issue of Auto Gallery, January 1987; reprinted in 1996 for the Graphic Arts Council
Medium: Chromogenic print
Size: image: 17 ¾ x 14 ½ inches; sheet: 20 x 16 inches

Edition: 200 signed and numbered by the artist (The full edition includes an additional 10 retained by the artist); published by the FPDP/DIA.

Price: $100, plus 6% sales tax

About the Photograph: This edition was commissioned by the museum to celebrate the centennial anniversary of automobile manufacturing when the DIA hosted the exhibition The Car and the Camera. In 1939, Packard built nine V-12 coupes. This particular vehicle is one of only two that have survived. When this photograph was made, the car was owned by the actor Ken Kercheval, well-known for his role as Cliff Barnes on the television program Dallas that was popular in the 1980s and 90s.

About the Artist: Robert Traniello was born in Rockland, Massachusetts. He has more than thirty years of experience in advertising photography. He has directed and produced projects related not only to automobiles but also to the aviation, fashion, food, and marine industries. Traniello was one of the featured photographers in the DIA exhibition The Car and the Camera: The Detroit School of Automotive Photography.