Pastel More Prints

Jim Dine The Christmas Print (Burg, 26), 2001 Drypoint, direct gravure, etching over offset lithograph with hand coloring by artist in oil stick, on T.H. Saunders paper, the full she...

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...

Carl Andre Handwritten Letter to the Artist's Parents, 1974 Letter handwritten with black marker on postmarked, stamped postcard (hand signed by Carl Andre) Boldly signed @ - the art...

Richard Serra Sculpture: Forty Years (Hand signed by Richard Serra), 2007 Hardback monograph (Signed by Richard Serra on the title page) Hand signed with marker by Richard Serra on t...

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...

French Mid Century Picasso Influenced stylised zoomorphic female nude drawing, oil crayon on paper, Paris School, signed and dated 1963. The work is presented in a chrome period fram...

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

Frank Campanella (American, 1922-2016), "Untitled: Portrait of A Blond Male", Figurative Portrait done in Charcoal on Brown Charcoal Paper Unsigned, 20 x 14, Late 20th Century Colors: Black, Red, White, Gray, Blue, Brown, Yellow "Untitled: Portrait Of A Blonde Male" is a Modern Figurative Portrait capturing a side profile of a young but mature male subject with a distinctive mustache. He's dressed in a red shirt with white pinstripe on the shoulder. His hair is a light dirty blond with lighter beige highlight with light bluish-grayish eyes, pointed nose with fuller lips. Frank Campanella is a listed artist known for New Jersey landscapes...

"Phytanthoza Iconographia", c1737-1745. A wonderful selection of yellow and blue flowers: hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", presented in hand-m...

Set of 4 drawings Bauhaus from "23", Print series. 2022 by Rodrigo Spinel Gliceé printed on Hahnemule Fiber Matt paper, intervened by the artist. Edition of 10 Framed Overall frame...

John Rattenbury Skeaping. English ( b.1901 - d.1980 ). Guardian, Cowboy and Horseman of the Camargue,1970. Pastel on Paper. Signed and dated. Paper size 15.2 inches x 20.9 inches (...

This 11.5" X 10.5" unframed mixed media pastel and ink etching on paper by Josette Simon Gestin is from the artist's series titled "No way back." On the ...