Jacques Monory

Composition, Hommage à Aimé et Marguerite Maeght, Derrière le miroir

1982

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 191, 1971. Published by Aimé Maeght, É...

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 191, 1971....

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...

Peter Blake A Walk in the Tuileries Gardens, 2004 26 colour Screenprint with Silver leaf and 3 Glazes Hand signed and numbered 28/200 by artist on lower front 30 1/5 × 22 1/2 inches The work is matted on board and unframed as it had been removed from its original frame. Measurements: Board: 30 1/8 x 22 1/2 inches Sheet: 24 x 20 inches Unframed A Walk Through the Tuileries Gardens is based on a memory of a stroll in Paris distilled through the ephemera he found along the way. ' The legendary Peter Blake, the father of British Pop Art, is renowned for his love of gathering and collecting the ephemera of life, of memories, of dreams and whimsies, sometimes mingled with those of other historical fantasists. Possessions he regards as symbolic of his relationships with his world, carefully questioning the personal significance of each object in this respect. The scraps of tickets, fragments of plastic, driftwood, pebbles and sycamore leaf in A Walk Through the Tuileries gardens are evocative and ephemeral souvenirs, gathered at the time and collated later perhaps with a whiff of romance. His image takes us, in turn, on a stroll down the wide gravel, under the autumnal trees, a lingering taste of saucisson and red wine on our palate and with a sudden impulse to take a turn on the Caroussel. This whimsical Peter Blake print would make a great gift for any Blake fan. Legendary British Pop Art pioneer British Blake was born in 1932, and after his formal training at the Gravesend School of Art, then at the Royal Academy of Art, he broke away from tradition, producing work from 1960 on that would come to define the British Pop Art Movement. He came to be known as the Grandfather of Pop Art, and his art achieved iconic status with his sleeve for The Beatles’ Sgt Pepper’s Lonely Hearts Club Band. Blake’s art draws on imagery from the popular culture of the past and present, as well as from the canon of fine art, thus creating an alternative, more democratic visual aesthetic. He freely mixes the ‘high’ with the ‘low’, ultimately inviting us to see beyond such distinctions. Always playful, and at times irreverent, he sets up the most unlikely juxtapositions across time and space, creating conversations and ‘parties’ to which all are invited. An abiding theme is an investigation, and celebration, of England and Englishness. Collage has always been a hallmark of Blake’s work, allowing him to freely mix found objects and images of people and other artworks; screenprinting, with its use of stencils and layers, lends itself perfectly to this technique, and indeed it was Pop Art that fully realised the potential of screenprinting as a medium for complex replication. More about Peter Blake: Sir Peter Thomas Blake...

Paula Scher China, 2013 Hand pulled silkscreen on deluxe Lanaquarelle paper 24 3/5 × 28 1/5 inches Edition of 95: Pencil signed and numbered on the front Unframed Accompanied by gall...

Artist: Allan D'Arcangelo, American (1930 - 1998) Title: June Year: 1969 Medium: Silkscreen, signed and numbered in pencil Edition: 6/100 Size: 14 x 12 in. (35.56 x 30.48 cm) Frame: ...