Andy Warhol

10 Statues of Liberty, Paris

1986

JONAS WOOD Interiors, 2019 Offset lithograph in colors on wove paper 24 x 32-3/4 inches Signed and dated in black marker lower right with the artist's distinctive flourish; hand sig...

JEFF KOONS Coloring Book at the Royal Academy of Arts, 2011 (Hand Signed), 2018 Offset lithograph 26 1/2 × 36 1/4 inches Boldly hand signed and dated in ...

Claes Oldenburg Fagends Carved in Rock, De-Accessioned from the Denver Art Museum (137, Axsom and Platzker), 1975 Offset Lithograph. Hand signed and numbere...

David Hockney San Francisco Opera Summer Season (Hand Signed), 1982 Offset lithograph poster (hand signed by David Hockney) 39 × 34 inches Boldly signed by David Hockney on the front Unframed Very rare when hand signed by David Hockney, as is the present print. The image depicts Hockney's "Detail of Bedlam" from "The Rakes Progress...

Chuck Close The 57th Presidential Inauguration, 2013 Offset lithograph 23 1/2 × 18 inches Edition 1191/2013 Bears Chuck Close's printed name; plate signed by Barack Obama numbered 11...

Patti Smith Patti Smith at the Bowery Ballroom (Hand Signed), 2000 Offset Lithograph poster. Hand Signed by Patti Smith Hand signed in ink by Patti Smith lower front 20 × 14 inches Unframed Hand signed offset lithograph poster from Patti Smith's historic concert at the Bowery Ballroom in December 2000. The poster contains several quotes from the famous Poet William Blake, the first being "Awake! awake O sleeper of the land of shadows (from Jerusalem)", and the quote on the bottom "The Tyger" from "Songs of Experience". Provenance is impeccable as it was acquired from the sale of the collection of Edward Gorey and Gotham Book Mart. The poster is hand signed in ink by Patti Smith. The Gotham Book Mart was a famous Midtown Manhattan bookstore and cultural landmark that operated from 1920 to 2007. The business was located first in a small basement space on West 45th Street near the Theater District, then moved to 51 West 47th Street, then spent many years at 41 West 47th Street within the Diamond District in Manhattan, New York City, before finally moving to 16 East 46th Street. Beyond merely selling books, the store virtually played as a literary salon, hosting meetings of the Finnegans Wake Society, the James Joyce Society, poetry and author readings, art exhibits, and more. It was known for its distinctive sign above the door which read, "Wise Men Fish Here" (sign created by artist John Held Jr...

Vintage gallery exhibition poster. Bright vivid red and bold yellow. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was...

Vintage gallery exhibition poster. Navy blue and bold yellow stars with vibrant orange. Surrealist man in hat with scythe or fishing rod. The Galerie Maeght is a gallery of modern ar...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

Andy Warhol Cowboys & Indians 1986 (announcement): Rare original announcement card published to celebrate the publication of Andy Warhol's Cowboys ...

Jean-Michel Basquiat Paintings 1981-1984: Rare highly sought-after Basquiat exhibition catalog from 1984 published by The Fruitmarket Gallery in Edinburgh, Scotland. Entitled: "Jean-Michel Basquiat: Paintings, 1981-1984" marked Basquiat's first solo museum exhibition & UK debut. The front and back covers feature original designs by Basquiat with two quotations inscribed on the back. The text and the image, according to Basquiat, was meant to be viewed as a singular composition. This major exhibition, which was organized by Mark Francis...

Keith Haring New Music Distribution Service 1986: 1980s music distribution catalog featuring original cover art by Keith Haring. Features Haring pri...