Charles Chamot Art

First book illustrated by Michaux. Edition of 296 copies including 12 lithographs by Michaux. One of the 250 copies on Pur Fil Johannot. Original slipcase on beige cardboard and insi...

"Classic Love" by Robert Indiana is a tapestry of the artist's iconic painting "LOVE", which was created in 1964 as a Christmas card motif for the Museum of Modern Art in New York City and has since become one of the most famous contemporary works. This hand-knotted tapestry...

Robert Indiana’s, "Classic Love" tapestry is a wool iteration of the artist's iconic “LOVE," which began as a simple Christmas card design for the Museum of Modern Art, NYC in 1964 and has since become one of the most recognizable contemporary works created. This hand-tufted tapestry...

"Derriere Le Miroir" is an original portfolio of lithographs and text by Alexander Calder. The artist signed the portfolio on the last page. This is edition number 146/150 of the del...

Refleksy (Reflexes), flax (linen) and wool, 50" x 48" x 2", 1973. This warm, vivid Mid-Century tapestry, Refleksy (1973) is by Polish textile artist, ...

Jack Wolfe Untitled, 1965 Acrylic and collage on board Hand signed on the front Frame included: held in original vintage frame with original gallery label Unique Provenance: Parker S...

Judy Pfaff original signed paper and mixed media 3D collage, ca. 1986 Mixed media 3:D paper collage with vinyl signed and inscribed "To Connie Love Judy Pfaff" in marker on the front...

(After) Andy Warhol Flowers, 1968 Hand Woven Wool Tapestry 183 x 183 cm (72 x 72 in) Edition of 20 With the knotted name ‘ANDY WARHOL’ lower right and the embroidered annotation ‘WARHOL ©’ on the reverse Published by Modern Master Tapestries, NY Throughout art history, the flower and its symbolism have been a subject matter for many renowned artists. Andy Warhol explored the qualities of the flower image through his Pop Art prism in the Flower series of 1964, thus creating cartoon-like symbols that would be instantly recognized. The 1964 Flower series became one of his most iconic and successful works. Based on a discovered photograph of hibiscus blossoms, Warhol drenched the flowers’ floppy shapes with a variation of vibrant colors, transforming them into psychedelic indoor décor. Playing with traditional art historical themes, Andy Warhol gave a particular twist to this historically accepted symbol of life. The electric colors of his flowers, drawn from a darker and rich undergrowth background might be the indicator of an extreme vision of life, a life lived on the edge. Andy Warhol (1928-1987) was an American artist, a leading figure of the Pop Art movement. ​Using a variety of media materials from photographs up to computer-generated art, Warhol's works explore the relationship between artistic expression, celebrity, culture and advertisement that flourished by the 1960s. Emerging from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, Warhol became a charismatic magnet for bohemian New York. In 1960, he began to produce his first canvases depicting Popeye and Dick Tracy. After Marilyn Monroe’s death in August 1962, he started working from snapshots of the star’s already legendary face, which had been widely distributed by the world’s press. His choice of subjects clearly relates to an obsession with demise – his Marilyns, his Ten Lizies (created when the actress Elizabeth Taylor was seriously ill), and also his Elvis. Part of the “Death and Disaster” series, Andy Warhol´s...

Contemporary mixed media (acrylic, pastel, pencil, and collage) abstract floral painting by emerging artist Federica Aiello Pini, exploring nature...

This is a thin cotton (that is my best estimate. it does not feel like silk) scarf, woven textile, fabric piece. It is signed in the print and hand numbered. Josep Guinovart (1927 –2007) was a Spanish Catalan painter most famous for his informalist or abstract expressionist work. In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946. He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Henri Matisse and Pablo Picasso and travelled to Belgium, Holland and Germany. On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw. He has done some amazing 3D wool tapestry wall hangings...

Signed lower left Titled and signed verso on label Tapisserie d’Aubusson, édit par Edgar Ponthieu This item is in our New York City warehouse and can be viewed by appointment.

Zofia Butrymowicz (1904-1987, Warsaw, Poland) was one in a select group of Polish textile artists who were first introduced in Chicago, USA in the 1970s by legendary dealers Anne and Jacques Baruch. Butrymowicz's body of work continues to influence the fiber art world to this day. "New experiments in art have always been of interest to me" Butrymowicz once observed, "whether I agree with them or not, and therefore I never pass by and I am never indignant at any expression in art. I strongly believe that in the wide range of experiments there will also be some elements of the development of culture." During the post-war period, when the countries of Eastern Europe were locked down behind the Iron Curtain, weavers there found materials in short supply. As a result, many of these artists turned to unconventional materials such as metal, paper and reeds. Zofia Butrymowicz, of Poland, recognized for innovative works in 60s and 70s, used heavy, irregular wools, barely spun at all. In 1969, she visited Canadian weaver, Mariette Rousseau-Vermette and her husband, painter and ceramicist, Claude Vermette, outside Montreal where the couple lived and worked. Zofia and Mariette had both been participants in International Tapestry Biennials in Lausane, Switzerland in the 60s and in Wall Hangings at the MoMA in New York in 1969. Butrymowicz stayed with the Vermettes for several months, using Mariette’s looms to create tapestries that were displayed with Claude’s ceramics at a local gallery. Butrymowicz used wool from Mariette’s source. Mariette was particular about the color and intensity of her wool — she worked with technicians to perfect the spinning and dyeing so that the wool had a silky luster and dyed “more beautifully” than mechanically spun wool. The wool was a marked departure from the material Butrymowicz had access to in Poland. She “painted” her weavings with colors and shadings of yarns, including only a shimmering suggestion of a shape, often a circle, as she had done in the past, but the glisten and sumptuousness of the yarn in these works set them apart from her previous weavings. Selected exhibitions: Central Museum of Textiles, Lodz, Poland; Museum of Contemporary Art, Chicago, Illinois; National Museum, Poznan, Poland; National Museum, Warsaw, Poland; Skopje Museum of Contemporary Art, Poland; Exempla, Munich, Germany; Museum of Modern Art, Pasadena, California; Pierre Pauli...