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Tracey Emin
Tracey Emin, My Heart is Always with You, 2014

2014

Price:$6,066.21
$8,020.88List Price

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Kind of Blue (Hand signed and dated card depicting his sculpture)
By Richard Deacon
Located in New York, NY
Richard Deacon Kind of Blue (Hand Signed and Dated card), 2005 Offset lithograph postcard Boldly signed and dated 9-01-05 by the artist above the image of the sculpture 5 4/5 × 4 1/4 inches Unframed Offset lithograph postcard depicting Richard Deacon's 1995 ceramic sculpture "Kind of Blue", in the collection of the Arts Council of Great Britain. This work is hand signed and dated on the front of the image. Very good vintage condition; minor handling and discoloration around far corners (edges) to the card which will easily frame out. Richard Deacon’s voluptuous abstract forms have placed him at the forefront of British sculpture since the 1980s and, hugely influential, his works are visible in major public commissions around the world. His voracious appetite for material has seen him move between laminated wood, stainless steel, corrugated iron, polycarbonate, marble, clay, vinyl, foam and leather. As he explains: “Changing materials from one work to the next is a way of beginning again each time (and thus of finishing what had gone before)”. Deacon describes himself as a ‘fabricator’, emphasising the construction behind the finished object – although many of the works are indeed cast, modelled or carved by hand – and accordingly the logic of the fabrication is often exposed: sinuous curved forms might be bound by glue oozing between layers of wood or have screws and rivets protruding from sheets of steel, wearing their hearts on their sleeves. Such transparency highlights the reactive nature of the process: it is part of a two-way conversation between artist and material that transforms the workaday into something metaphorical. The idea of ‘fabrication’ also denotes making something up, of fiction rather than truth, and this knack for wordplay surfaces in Deacon’s titles, which might establish juxtapositions or wreak new meaning from familiar sayings or clichés – see Let’s not be Stupid (1991), No Stone Unturned (1999), Water Under the Bridge (2008) or Shiver My Timbers (2016). Richard Deacon Biography Richard Deacon was born in Bangor, Wales, UK in 1949 and lives and works in London, UK. He has a BA from St Martin’s School of Art, London, UK (1972) and an MA in Environmental Media from the Royal College of Art, London, UK (1977). Solo exhibitions include Kula Gallery and the Museum of Fine Arts, Split, Croatia (2021); Middelheim Museum, Antwerp, Belgium (2017); San Diego Museum of Art, San Diego, CA, USA (2017); Prague City Gallery, Prague, Czech Republic (2017); Museum Folkwang, Essen, Germany (2016), Kunstmuseum Winterthur, Switzerland (2015); Tate Britain, London, UK (2014); Sprengel Museum, Hannover, Germany (2011); Musée de la Ville de Strasbourg, France (2010); Portland Art Museum, Oregon, USA (2008); PS1 Contemporary Art Center, New York, USA (2001); MACCSI, Caracas, Venezuela (1996); Whitechapel Art Gallery, London, UK (1989) and Museum of Contemporary Art, Los Angeles, USA (1988). He represented Wales at the Venice Biennale, Italy (2007) and has participated in the Venice Architecture Biennale, Italy (2012), Glasgow International, UK (2006) and documenta 9, Kassel, Germany (1992). He won the Turner Prize in 1987 and the Robert Jakobsen...
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5 Colour lithograph on Somerset Satin Tub Sized White 410gsm. 60 x 76 cm (23.6 x 29.9 in) Signed, dated and numbered by the artist Edition of 125 ‘Peace Be Still’ (2022) showcases S...
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Located in Dubai, Dubai
By David Hockney These lithographs are taken from the special edition of Hockney's Alphabet, which is signed on the justification page by David Hockney and Stephen Spender. A copy o...
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Picasso Ceramiques Espagnoles 1964 exposition lithograph
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Richard Prince, The Greeting Card Jokes #3: Canada Dry, Foil-Stamped Print, 2011
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Richard Prince, The Greeting Card Jokes #1: The Fireman, 2011
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Located in Dubai, Dubai
Richard Prince, The Greeting Card Jokes #1: The Fireman, 2011 As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). Signed and numbered by artist in ink on interior of card. From a limited edition of 100. Edition 91/100 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...
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Richard Prince, The Greeting Card Jokes #2: The Best Friend, 2011
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Richard Prince, The Greeting Card Jokes #2: The Best Friend, 2011 Foil-stamped print, on heavy wove paper, folded. As new condition, never framed or displayed. Hand signed and numbered by the artist, verso. Private collection (UK). From a limited edition of 100. Edition 91/100 6.25 x 8.5 in (15.9 x 21.6 cm) Notes: Text image from Richard Prince's iconic Jokes series. Signed and numbered by the artist in ink on interior of card. Incorporating jokes reflective of the “borscht belt” humor prevalent in the 1950's, Prince's Joke works tap into social preoccupations of the national subconscious. Prior to Prince's use of the jokes, many had infiltrated popular culture, gradually losing their original authors to become adopted by a largely oral tradition. Beginning in 1984, Richard Prince began assembling one-line gag cartoons and ‘borscht belt’ jokes from the 1950's which he redrew onto small pieces of paper. "Artists were casting sculptures in bronze, making huge paintings, talking about prices and clothes and cars and spending vast amounts of money. So I wrote jokes on little pieces of paper and sold them for $10 each". Following the hand-written jokes and subsequent works in which cartoon images were silk-screened onto canvas, in 1987 Prince adopted a more radical, formulaic strategy of mechanically reproducing classic one liners and gags onto a flat monochrome canvas. Richard Prince's work has been among the most innovative art produced in the United States during the past 30 years. His deceptively simple act in 1977 of rephotographing advertising images and presenting them as his own ushered in an entirely new, critical approach to art-making — one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation; he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility: the Marlboro Man...
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