(after) Damien Hirst

Superstition (Signed)

2007

Artist: John James Audubon (American, 1785-1851) Title: "Booby Gannet" (Plate 426, No. 86) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Origina...

Artist: John James Audubon (American, 1785-1851) Title: "Ivory Gull" (Plate 445, No. 89) Portfolio: The Birds of America, First Royal Octavo Editi...

Artist: John James Audubon (American, 1785-1851) Title: "Arctic Fox" (Plate 121, No. 25) Portfolio: The Viviparous Quadrupeds of North America, Imperial Bow...

Artist: John Gould (English, 1804-1881) Title: "Platalea Leucorodia (Spoonbill)" (Plate 223) Portfolio: The Birds of Great Britain Year: 1862-1873 Medium: Original Hand-Colored Lithograph on wove paper Limited edition: approx. 750 Printer: Walter or Walter & Cohn/Taylor and Francis, London, UK Publisher: John Gould, London, UK Framing: Recently beautifully framed in a gold Neo-Classical moulding with gold filet and 100% cotton rag matting from Holland. All archival Framed size: 23.5" x 30" Sheet size: 14.75" x 21.5" Image size: 12.5" x 19.5" Condition: One small tear upper right in margin which has been skillfully repaired from verso. Light mat stain in margins and one small area of discoloration upper left center. It is otherwise a strong impression in very good condition Notes: Provenance: private collection - Williamsburg, VA. Lithography and hand-coloring by John Gould and Henry Constantine Richter (1820-1899). Comes from Gould's famous five volume portfolio "The Birds of Great Britain" (1862-1873), which consists of 367 hand-colored prints, made from lithographed plates. Other contributing lithographers were Joseph Wolf...

Artist: John James Audubon (American, 1785-1851) Title: "Grey Fox" (Plate 21, No. 5) Portfolio: The Viviparous Quadrupeds of North America, Royal Octavo Edition Year: 1849-1870 Mediu...

Artist: John James Audubon (American, 1785-1851) Title: "Key-West Dove" (Plate 282, No. 57) Portfolio: The Birds of America, First Royal Octavo Edition Year: 1840-1844 Medium: Origin...

Offset lithograph on wove paper. Published in 1993. Copyright © David Hockney, verso.

Bear with Predella (from Rubber Stamp Portfolio), 1976 Rubber Stamp Print on Arches Satine with Envelope 8 × 8 inches Edition of 1000 Unframed -...

Robert Grosvenor Robert Grosvenor at Karma (Hand Signed & Inscribed), 2017 Offset lithograph poster. Hand signed and inscribed. in black felt tip marker on the front 24 × 18 inches P...

This charming vintage poster commemorated the publication of David Hockney's Six Fairy Tales from the Brothers Grimm. The poster advertises a miniature ...

This three-part work spanning 10 feet was printed from the plates of Francesco Clemente’s mythological landscape Untitled A on the occasion of the 1986 MoMA, New York show of Clement...

Nancy Graves Original Graham Gallery poster (hand signed by Nancy Graves), 1968 Extremely rare vintage offset lithograph poster (hand signed by Nancy Graves) hand signed by Nancy Graves in pencil on the front Frame included: held in museum quality wood frame with UV plexiglass Publisher: Graham Gallery This late 1960s vintage Graham Gallery poster is hand signed by Nancy Graves on the front. It was published on the occasion of her "Camels" exhibition - a groundbreaking show in the artist's young life, as she died at age 54 of breast cancer. (People forget how brave she was, a sharp counterpoint to the style of the macho Minimalists of the era, like her ex husband Richard Serra.) The following year -- in 1969 - Nancy Graves became the first woman ever to have a solo show at the Whitney Museum. We've never seen another of these posters anywhere else in the world - let alone one hand signed by Nancy Graves. Elegantly framed in a museum quality wood frame with UV plexiglass Measurements: Frame: 17 x 17.5 x 1.5 inches Work: 10 x 10.75 inches About Nancy Graves: Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden. Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps...