A note to our friends and collectors of Robert Kipniss lithographs
We have sold all the Kipniss original prints in our inventory.
We appreciate the many inquiries and requests received for Kipniss
limited editions and wish we had more to make available to you.
Should you wish to add to your collection, please
e-mail us now
and we will advise you if and when we are able to again make available the
Kipniss lithographs and mezzotints that you have enjoyed in the Saper Galleries
inventory during the past 20 years.
Thank you very much.
With all due respect to the artist and collectors of his work,
Roy C. Saper
Robert Kipniss Reflections
Mr. Kipniss remembers, "When I was a child
my family moved to a small town on Long Island. There was a long tract
of woods a half-block from our house that led all the way to the next town.
Very quickly I discovered these woods and explored them, at first
tentatively, then gradually more boldly. I particularly enjoyed being
there alone, and I began feeling the great pleasures of being among the trees
and leaves, the sky peeping through here and there, the glimpse of a house’s
gable with perhaps a window, sometimes with what seemed a mysterious curtain
lit by a dim lamp. I remember very clearly how magical it seemed,
and how important it was for me to keep returning there to have these private
It was to be many years before I realized the feelings were
within myself, provoked to my consciousness by these surroundings. That
somehow, even then, whatever my very innermost thoughts and feelings were,
alone, in the woods, still just barely in sight of homes and town, these thoughts
and feelings were freed to cognition, sometimes euphoric, sometimes eerie,
but always intense, and always with deep pleasure. Pleasure, of course,
is addictive, and having an excessive nature I have pursued this pleasure
with my life."
The artist’s art is the attempt to grasp the intensity of these
moments, whether a feeling, a thought, or an atmosphere. Looking back at
the images of a life time, the individual works of Robert Kipniss are like
maps of a hegira begun so early in childhood, and formed over a lifetime.
Robert Kipniss (Born
Selected Public Collections
Whitney Museum of American Art, New York
Princeton University Art Museum
Metropolitan Museum of Modern Art, NY
Los Angles County Museum
Chicago Art Institute
Detroit Institute of Art
Museum of Fine Art, Houston
Wichita Falls Museum, Texas
Philadelphia Museum of Art
The Fitzwilliam Museum, Cambridge University, U.K.
Museo de Arte Moderno, La Tertulia, Cali, Colombia, S.A.
Museum of Fine Arts, Boston, Mass.
National Collection of Fine Arts, The Smithsonian Institute,
Library of Congress, Washington, DC
Yale University Museum, New Haven, Connecticut
New Orleans Museum of Art
The Butler Art Institute, Youngstown, Ohio
Wittenberg University, Springfield, Ohio
New York Public Library
The Johnson Museum at Cornell, Ithaca, New York
Achenbach Foundation, De Young Museum, San Francisco
Dubuque Museum of Fine Arts, Dubuque, Iowa
Bodleian Library, Oxford University, U.K.
Jane Vorhees Zimmerli Art Museum, Rutgers, NJ
The Brooklyn Museum, Brooklyn, NY
The National Academy of Design, NY
The Century Association, NY
Selected Public Exhibitions
Gallery New World, Dusseldorf, Germany, 1996
Redfern Gallery, London, 1995
Enatsu Gallery, Tokyo, 1990, 1988, 1987
Wittenberg University, Springfield, OH, 1993, 1979
Davidson Gallery, Seattle, WA, 1993, 1983, 1982
The Bruce Museum, Greenwich CT, 1981
Hirschl and Adler Gallery, NY, 1980, 1977
Kalamazoo Art Institute, Kalamazoo, MI, 1979
Gerhard Wurzer Gallery, Houston, TX, 1997, 1990, 1988, 1986,
Wichita Falls Museum, TX, 1997
Robert Kipniss -- the Art
The ‘Kipniss house’ is often windowless, improbably
sited, apparently sealed yet one that seems a mythic structure of a child’s
depiction of a house. Or consider the Kipniss ‘interiors’ with the
vases, beakers, chair-backs and utensils. These simple objects,
superficially invite some collective nostalgia that have been refined to
totemic abstraction, their forms speaking a powerful, uncompromising language.
Lastly, the most intensive are the Kipniss ‘trees’. Potent
and dramatic. Full, they spring like geysers on a hillside; stripped
of leaves, they stand naked against the sky. The leaves, often distanced
from their source but informed by their own vitality, can be found surprised
in their stillness, or schooling like fish.
Kipniss works do not threaten; they beguile and invite.
If one allows herself to enter these works, to become lost in this strange
universe, she will find an emotional landscape of power, substance, and unremitting
“Robert Kipniss’ art is ever evolving
yet his central themes of isolation, longing, journeys and discoveries
have remained true. Kipniss has created over the decades a vocabulary
of unique symbolic imagery; meandering pathways, homes with few or no windows
and doors, leaves unattached to branches. Compositionally, the artist twists
the viewer’s sensibilities confounding our perspectives on interior and exterior
motifs. In this way, Kipniss offers a subtle Surrealism, exploring
our conscious and unconscious dreams and desires for places and things not
-- Hexton Gallery, Hong Kong
and New York
Contact Saper Galleries
for further details on these and other limited editions by Robert Kipniss
and information on the acquisition of Kipniss oil paintings.