Mixed Media

Original mixed-media on paper Dimensions 6″ x 7″ unframed 20.5″ x 21.5″ framed. This is a study for a work entitled “Les Baigneuses” dated 1971 and is included in LeRoy Neiman’s cat...

’Complementaries’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 19/20 Signed - Yes Size - 615mm x 780mm Date - 1976 Condition - Good. 9 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

"Breakfast in Merida (Homage to Carmen Miranda)" is an original woven wool tapestry with velvet fruit by Joan Ward Summers. It is a decorative tableau which displays a background pat...

Robert Indiana Star of Hope, 1972 Enamel on Metal with Artists Stamped Name. Date and Copyright Artist stamped name and copyright on lower right front Frame Included: held in a white...

Important Note: The measurements of this scarf when fully opened are 36 inches x 35 inches. (the measurements of 10 square inches are once folded, as it ships folded not flat) Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature lower right and printed Louis Vuitton brand name...

Tom Holland Artists in the Spotlight: Celebrating the 50th Anniversary of San Francisco Museum of Modern Art (SFMOMA), 1985 Acrylic and mixed media on paper Signed and dated 1985 on ...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This is a rare example of Pettibone's iconic Appropriation Print, as it's silkscreened and sculpted on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster...

Oil Painting of Tree by the River by 20th Century British Landscape Artist, Arthur Terry Blamires (b. 1930) Art measures 12.5 x 8 inches Frame ...

Primary Colors Abstract Expressionist - Mixed Media on Paper Abstract in bold primary colors on a stark black background with salt texturing technique executed along the bottom, by California-based artist Ricardo de Silva (Brazilian, 20th Century). This artwork is on "Arches France...

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand s...

William Tucker Study for Gymnast IV (De-Accessioned from the High Museum of Art, Atlanta), 1985 Oil Stick on Paper Hand signed by the artist on the front Original vintage frame included This study by the modern British sculptor, William Tucker, was done of the bronze sculpture 'Gymnast IV.' The sculpture is currently part of the Tate Galleries Collection in England. It was one of a series of four that the artist completed in 1983. Tucker, along with Isaac Witkin...

’Untitled’ By Yutaka Takayanagi. Medium - Relief with lithographic print Edition - 4/50 Signed - Yes Size - 790mm x 570mm Date - 1977 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

Keith Haring Pop Shop, c.1986: Vintage original 1980s Pop Shop bag designed & illustrated by Keith Haring. Features a bold 1985 Keith Haring prin...

Johnny Banks (1912-1988) San Antonio Artist Size: 11 x 14 Frame: 17 x 20 Medium: mixed media Dated 1979 "The Lonely Wild" Biography Johnny Banks (1912-1988) In my opinion one of the greatest Texas folk artists of all time. The following information was compiled and submitted by Stephanie Reeves: John Willard Banks, San Antonio, Texas, African American Folk...

Victor Vasarely Kinetics 3 double screen print on rhodoid and cardboard editions of the griffon neuchatel (switzerland) 1st edition . 1973 white wood fra...

Winning buyer: Try entering code FREESHIP for complimentary packing and shipping at checkout. (Some exceptions apply) Helen Frankenthaler Frankenthaler, Works on Paper 1949-1984 (Han...

Shusaku Arakawa Untitled 3 from "No!" Says the Signified, 1973 Lithograph and Silkscreen on Arches Paper with Deckled Edges Hand signed and dated on the lower right front Artist's Pr...

Charles Hinman Untitled Geometric Abstraction (Hand Signed), 1980 Pastel & Graphite on Paper Signed and dedicated to "Michael and Rene" in graphite by the artist on the front Frame i...

Original Mixed Media on Paper Dimensions 14.25″ x 11.25″ unframed. Approximately 28.25″ x 25.25″ Framed Dated 1971.

The painting is being offered with a work and authenticity certificate

Pat Adams Free More, 1989 Acrylic and encaustic with varnish on paper laid down on canvas Hand signed and dated on the upper left front Original artist's frame included This is a unique work An exquisite encaustic and acrylic painting by renowned painter and longtime Bennington College art teacher Pat Adams is hand signed and dated on the upper left recto Measurements: frame: 15.5 x 17.7 x 1 inches canvas: 14 x 15.75 inches Provenance: Reader's Digest Association Corporate Collection with label and inventory # Zabriskie Gallery, New York labels on the back Christie's Pat Adams Biography: Pat Adams (American, b. 1928) was raised in Stockton, California, and began painting at the age of ten. She studied painting at UC Berkeley from 1945–49, where she first encountered the ideas of Hans Hofmann as she studied under his former students—Worth Ryder and Margaret Peterson O’Hagan, who had arranged for Hofmann’s migration to the States in 1932, among them. During her summers at Berkeley she pursued programs at the California College of Arts and Crafts (1945), the College of the Pacific (1946), and the Art Institute of Chicago (1948). In 1950, following her graduation from Berkeley the previous year, she attended a summer session at Brooklyn Museum Art School, remaining in the city after its completion. She received her first solo exhibition in 1954 at the Korman Gallery—later to be renamed the Zabriskie Gallery, which would continue to represent her through 2018. Her work was greatly motivated by her international travel during the 1950s: in Italy in 1951, after her first husband, painter and printmaker Vincent Longo was awarded a Fulbright scholarship, and in France in 1956, after she received her own Fulbright scholarship. In the fall of 1964 she was invited by professor Paul Feeley to teach at Bennington college, where she joined the social circle of the famous “Green Mountain Boys,” including Kenneth Noland and Jules Olitski. In 1972 she married fellow Bennington professor R. Arnold Ricks, and they set off with her two sons on a four month journey through Egypt, Iran, Turkey, and all of Europe, which impacted her work significantly. She continued teaching at Bennington through 1993. Her lengthy career has also included many teaching appointments at Yale, as both a visiting professor and artist, as well as the Rhode Island School of Design, among numerous other institutions across the country. She has received notable awards from the National Endowment for the Arts, the Academy of Arts and Letters, the National Academy of Design, and the College Art Association. In 1995 she was awarded the Vermont Governor’s Award for Excellence in the Arts. Her work has been the subject of over fifty solo exhibitions. She lives in Bennington, Vermont. -Courtesy of Alexandre Gallery

’Pisces’ Please note. This is not a mono print but 1st Dibs have option for Relief print. Which is what this is... By Yutaka Takayanagi. Medium - Relief print Edition - AP Signed - Yes Size - 510mm x 660mm Date - 1973 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

Robert Elkon Untitled Constructivist Sculpture, 1979 on wood plinth Steel on wood plinth with Robert Elkon Gallery label verso 5 3/4 × 4 × 1 in 14.6 × 10.2 × 2.5 cm Bears original Robert Elkon Gallery on the underside, expressly stating the work is unique (see photo) This is a unique work This late 1970s work bears the original Robert Elkon Gallery on the underside, expressly stating it is a unique maquette. Elkon first represented William Tucker...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Weege Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

Untitled by Anish Kapoor (b. 1954) Oil and varnish on paper 55.5 x 55 cm (21 ⁷/₈ x 21 ⁵/₈ inches) Signed and dated on the reverse, Anish Kapoor 1989 Provenance: Lisson Gallery, Lond...

Jean-Michel Basquiat The Notebooks 1993 (catalogue): A comprehensive pictorial overview of the history of Basquiat's notebooks. The early 1990's first edi...

Marty Greenbaum (1934-2020) ''Brooklyn Local in Weege Wisconsin'' Lithograph, with hand-coloring, blind stitching, stitching, burning, tape collage and paint with Jewish, Hasidic, Sleepy Moishy character. Marty Greenbaum (1934-2020) was an American painter, mixed media assemblage and book artist. Greenbaum is best known for his mixed media assemblage, painting and artist books. Greenbaum appeared in three films: Hallelujah the Hills in 1963 by Adolfas Mekas, Life Dances On, in 1980 by Robert Frank, and The Present in 1996 by Robert Frank. Between 1962 and 1965 he took part in happenings by Allan Kaprow and experimental dance by Yvonne Rainer. Greenbaum authored his own happenings, i.e. Coney Island Carny, including artists such as Eddie Barton, Remy Charlip, Paul Kaplow, Paul Krasner, Al Hanson, Ed Blair, Allen Ginsberg, John Hammond, Eddie Rabkin, Lou Gossett, Renee Renee, Allan Kaprow, Phyllis Yampolsky, Thomas Hoving, Jackie Ferrara, Peter Schumann, Jim Bell, Bill Marshall, Corla Lopez, Bruce Waite, and Mark di Suvero, as well as organizing the Hall of Issues with Phyllis Yampolsky at The Judson Memorial Church. Greenbaum had several teaching positions in the New York City public school system and was a member of the Creative Artists Public Service program twice, he also participated in various exhibitions with book objects. His work is in several public collections including The Art Institute of Chicago, Artists' Books, The Brooklyn Museum Collection, The Chrysler Museum, Norfolk, VA, Citibank, NYC, Colgate University, Hamilton, NY, Jacksonville Art Museum, Jacksonville, FL, Madison Art Center, Madison, WI, SUNY at New Paltz, NY and more. Books as Objects "Greenbaum, an early conceptualist, burned books in the 1960s, exhibiting the remains as 'corpses.' Today, he makes fetishistic notebooks filled with colored paper and scribbled equations, accretions of feathers and Rhoplex." "Marty Greenbaum and Barton Lidice Benes destroy texts to create sculpture: Benes 'Bound Book,' a literal rope and wax imprisonment, and Greenbaum's 'Cutting Up,' a mixed media paste over of muted colors." Some of his most notable artist books include: "Batman" 1963-67, "In '84 Returned in 2004". Two stories about Marty from James Pernotto: we met at William Weege print shop in 1974 when he drove out from NYC with Alan Shields and Paco Grande and I was a lithography printer hired to work with them. Alan recalled on the trip out that Marty was working on his altered books and putting airplane glue on the pages and lighting it with a match. Enough said. I printed for Marty. Solo exhibitions 2007 Two Artists, Windsor Whip Works, Windsor NY 2001 Pacifico Fine Art, NYC 1972, 1979, 1985 Allan Stone Gallery, NYC 1977 Picker Art Gallery, Colgate University, Hamilton NY 1963, 1964, 1965 Stryke Gallery, NYC Group and Traveling exhibitions 2019 One Plus One Equals Three, curated by Roger Winter, Kirk Hopper Fine Art, Dallas, TX Collage and assemblage by Romare Bearden, Roy Fridge, Marty Greenbaum, David McManaway, Robin Ragin, Nancy Willis Smith, and Roger Winter. 2017 Sorcery & Craft, Allan Stone Projects, New York, NY 2008 8 Artists 8 Books, 5 + 5 Gallery, Brooklyn, NY 1999 Talent, Allan Stone Gallery, New York, NY 1998 Artist Books, Bound & Unbound Gallery, New York, NY 1992 Fetishism, Allan Stone Gallery, New York, NY Salon of the Book, Caroline Corre, Paris, France; Artists; Books, Centre Georges Pompidou, Paris, France 1979 "Book Makers: Center for Book Arts First Five Years", Arthur A. Houghton, Jr. Gallery, The Cooper Union, NYC 1978 The Detective Show MoMA, PS1, Queens, NY (with Richard Artschwager and Gordon Matta Clark...

The painting is being offered with a work and authenticity certificate

Victor Vasarely Kinetics 5 double screen print on rhodoid and cardboard editions of the griffon neuchatel (switzerland) 1st edition . 1973 white wood fra...

The painting is being offered with a work and authenticity certificate

LeRoy Neiman Carnaval gift book in bespoke box (Hand Signed and Numbered), 1981 Hardback Monograph with Vinyl Dust Jacket. Hand Signed by Artist on Colophon on Vellum parchment pape...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

’Minimum colour contrast with orange’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 1/20 Signed - Yes Size - 790mm x 570mm Date -1977 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

Wonderful large scale natural toned mixed media abstract comprising a rectangle of antiqued white texturized with gesso'd hemp sacking and set above second ivory rectangle in pale ivory with circle of scumbled grey by British contemporary artist Richard Lawrence...

The painting is being offered with a work and authenticity certificate

Project is an artwork realized byLucio Del Pezzo, 1988. Mixed Media on paper. Hand signed in the lower part. cm. 50x70. Good conditions! Lucio Del Pezzo (Naples, December 13,...

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate

The painting is being offered with a work and authenticity certificate