Peter Halley

Peter Halley, Jablonka Galerie, Köln rare exhibition poster (Hand Signed)

1990

Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph poster Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scul...

"The concentric square is just a powerful pictorial image. Its so good that you can us it, abuse it, and even work against it to the point of ignoring it. It has a strength that's al...

James Siena at PACE Gallery, 2019 Offset lithograph exhibition invitation (Hand signed by James Siena) 19 1/2 × 14 1/2 inches Unframed This exquisite fold...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...

LUDWIG SANDER Untitled geometric abstraction Artists Proof, aside from the regular edition of 90 Hand signed and annotated AP on the front Elegantly matted and framed in white wood m...

Richard Paul Lohse Mid Century Modern Geometric Abstraction, ca. 1969 Silkscreen on velincarton 39 1/4 × 39 1/4 inches Edition 43/100 Signed and num...

Alexander Calder - Original Lithograph - from "Derriere le Miroir"Behind the Mirror 1976 Framed Dimensions: 38 x 56 cm Source: Derrière le miroir (DLM), n°141, 1976 Alexander Cald...

Color lithograph, Edition 25. The artist describes this project: My Field Lines body of work is inspired by the electromagnetic lines depicted in scientific and mathematical litera...

Tadas Burba (Lithuania b. 1939) "Untitled: Black, Blue and Silver", Abstract Lithograph signed in Pencil, 23 x 16, Late 20th Century Colors: Black, Bl...

Four parts each 57 x 76.5 cms (22 1/2 x 30 1/4 ins) Edition of 60, Set of 4

Modern and bold abstract geometric composition of Mayan sculpture Chac Mool in sky blue by Marilyn Kruger (American, 20th Century). Numbered, titled, and signed ("1/5 Chac #2 Marilyn Kruger") along the lower edge. No frame. Chac Mool is sculpture of a reclining male figure holding a bowl on his torso. They were given the invented name Chac Mool by nineteenth-century explorers during an archaeological expedition to Chichen Itza...

Pink and purple abstract modern lithograph edition 16 / 100. The work features colorful geometric shapes that have been detailed with a hatch texture. Signed, titled, and editioned b...