Martha’s Backyard, Anique Taylor (American, 20th–21st c.), c.1970s–80s serigraph, 19×25 in, pencil-signed, ed. 169/325.

Martha’s Backyard, Anique Taylor (American, 20th–21st c.), c.1970s–80s serigraph, 19×25 in, pencil-signed, ed. 169/325.

A joyful, pattern-rich limited edition serigraph by Anique Taylor, Martha’s Backyard (169/325) celebrates domestic life through bold color, folk-modern design, and playful detail—laundry lines, birds, porches, and potted plants—ideal for collectors of vintage American screenprints and modern decorative art.

Artwork Description

Martha’s Backyard is a vibrant architectural vignette rendered with the clarity and confidence of classic serigraphy. A brightly colored house fills the composition like a stage set: orange walls, teal-blue stairs, patterned windows, and a line of clothes swaying overhead. Taylor builds the scene from crisp, flat shapes—greens, reds, blues, and warm oranges—punctuated by repeating botanical motifs and textile-like patterns that animate the façade and yard.

Stylistically, the work sits at the intersection of decorative modernism and folk-pop narrative illustration. The simplified geometry (rooflines, fences, steps) provides structure, while small storytelling accents—birds perched on the clothesline, a figure glimpsed in a window, potted plants clustered on the porch—create warmth and human presence. The serigraph medium heightens this effect: each color appears as a deliberate layer with clean edges, producing a bright, poster-like saturation and a tactile sense of design.

The print is pencil titled “Martha’s Backyard” at the lower margin, pencil-signed “Anique Taylor” at lower right, and numbered 169/325 at lower left—indicating a sizable but still collectible edition.

Artist Biography

Anique Taylor (also published as Anique Sara Taylor) is an American multidisciplinary artist and writer associated with the New York metropolitan region and the Hudson Valley/Catskills creative community. She is documented as having studied and earned degrees in both visual art and writing, including a BFA (with highest honors) and MFA in drawing/painting from Pratt Institute, as well as study at institutions such as Silvermine College of Art and The Cooper Union. Multiple biographical sources also list a Diplôme from the Sorbonne (Paris) and a graduate degree in writing (Poetry MFA, Drew University), reflecting her parallel commitments to visual practice and literature.

Taylor’s studio practice is frequently described as expansive and materially adventurous—moving across drawing, painting, printmaking, and sculptural forms. Her visual language emphasizes bold patterning, saturated color, and a narrative impulse: houses, gardens, figures, animals, and symbolic motifs appear in tightly organized compositions that feel simultaneously playful and psychologically charged. This sensibility aligns especially well with serigraphy, where layered color and crisp separation can transform everyday scenes into emblematic, quilt-like arrangements.

Exhibition and publication references place her work in a range of regional museums and galleries and in arts coverage, including appearances connected to the Bruce Museum/Bruce Gallery context and other venues in the broader New York area. Market-facing artist profiles describe her subject matter as urban/suburban/mythic, with images built from intertwined patterns and carefully balanced color interactions. In addition to her visual-art career, Taylor is also published as a writer and has participated in literary communities and public readings—an overlap that often shows in the storytelling density and symbolic detail of her images.

Collections attributed to her work (as reported in compiled artist biographies and listings) include private collectors and notable estates, including the estate of historian Barbara Tuchman—a provenance-friendly detail you can reference as a “reported collection” point when writing catalog copy, while keeping the claim properly framed as sourced from artist/dealer biography materials rather than an institutional registry.

Anique Taylor (American), Martha’s Backyard, c.1970s–80s, color serigraph on paper, 19 × 25 in, pencil signed, titled, and numbered 169/325; vivid patterned house-and-garden scene.

Certificate of Value & Authentication

Artist: Anique Taylor (American)
Title: Martha’s Backyard
Medium: Color serigraph (screenprint) on paper
Dimensions: 19 × 25 inches (as provided)
Edition: 169/325
Markings: Pencil title at lower margin; pencil signature at lower right; edition number at lower left
Authentication Basis: Visible pencil signature/title/edition consistent with limited-edition serigraph practice; artist biography and market records support active production of serigraphs in this period; provenance recorded through Mitch Morse Gallery acquisition chain.
Condition: Not examined in person; valuation assumes good condition with no major stains/tears/abrasion and strong color.

Provenance Chain

Mitch Morse Gallery (acquired in NYC, United States & Europe) → Artfind Gallery, Washington DC (current owner)