Richard Long

Untitled (Artist's Hand), unique signed drawing by celebrated British artist

2015

MAN RAY Hands, 1966 Mixed Media: Silkscreen on Plexiglass Published by Gemini GEL Measurements: Image: 20"h x 16"w sheet plexi: 25.5"h x 19.5"w overall (with frame): 26.75"h x 20.75...

Judy Pfaff Wufu Wu (The Five Chinese Blessings), 1995 Signed, dated, numbered and titled in graphite pencil on the front Edition of 120 (unnumbered) Original etching on Japanese Kozo...

Jasper Johns The Drawings of Jasper Johns (hand signed and inscribed by Jasper Johns), 1991 Amazing provenance: Offset lithograph poster (hand signed and inscribed to Frank Martin, former conservator of the Whitney Museum) Hand signed and inscribed by Jasper Johns on the front Frame Included: matted in cream colored matting and held in original vintage frame Jasper Johns signed and inscribed this poster to Jack Martin, former Head Preparator at the Whitney Museum. This print was published by the Whitney Museum of American Art for the exhibition, " The Drawings of Jasper Johns Whitney...

PETER HALLEY 6/21/96.9, 1998 Graphite and ink drawing Hand-signed by artist, signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 Frame included: elegantly matted and framed in a hand made museum frame with UV plexiglass signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 This is a unique work Frame included: elegantly floated and framed in a museum quality hand made white wood frame under UV plexiglass Measurements: Framed 16.5 inches vertical by 13 inches horizontal by 1.5 inches Artwork (visible) 10 inches vertical by 8 inches horizontal Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Artist: Arthur Boden, American Title: Hand Portrait Year: circa 1975 Medium: Lithograph, signed and numbered in pencil Edition: 100 Size: 35.5 in. x 24.5 in. (90.17 cm x 62.23 cm) Fr...

CREATION is a hand drawn original lithograph(not a photo reproduction or digital print) printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. CREATION is a highly detailed, surreal hand portrait drawing depicting a pair of cupped hands made of stone, seemingly emitting a glow of light. CREATION with its glowing effect expressed from the center evokes a sense of mystery that captivates the viewer into another world of meditative, spiritual consciousness. Print size - 21.5 x 29.5 in., unframed, excellent condition, rare unsigned trial proof aside from the printed edition of 100, printers legend stamped on verso, fine impression, completely hand drawn lithograph by DE ES Schwertberger Year printed - 1979, printed by master printer Joseph Kleineman at JK Fine Art Editions Co., NYC DE ES (DE ES Schwertberger) - Popular Viennese Fantastic Realist artist was born in 1942 in Gresten, Lower Austria, as Dieter Schwertberger. He studied the painting technique of the Old Masters in Vienna under Ernst Fuchs and has been an independent artist since 1962. DE ES lived three years in Switzerland and twelve years in New York City. The painter has been known under the name DE ES since 1972. He currently lives in Vienna. The artist considers himself to be a seeker, who shows what he has found through “the language of the images”. His message of “meaning and transformation” finds clear and intense expression in his paintings through a precise use of space, light and texture. De Es' was the featured artist for Omni magazine...

Larry Rivers Hand and Foot '73, 1973 Die cut stencil 21 1/4 x 17 1/2 inches (sheet) 29 3/8 x 24 3/4 inches (frame) Signed recto Silver metal frame. Floa...

Glove is an authentic original Etching on cardboard, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed and dead 1972 at the bottom. Unique specimen hand water...