Jonas Wood

VOTE, limited edition political silkscreen with artist's famed basketball image

2018

Christo and Jeanne-Claude, Ugo Mulas Wrapped Monument to Vittorio Emanuele II (Hand Signed by Christo) Gelatin silver print on thin board Hand signed and annotated H.C. (Hors Commer...

Roy Lichtenstein Girl With Spraycan (Deluxe hand signed edition of the 1 Cent Life Portfolio, from the estate of artist Robert Indiana), 1964 Limited E...

Christo and Jeanne-Claude The Pont Neuf, Paris Wrapped (Hand Signed), ca. 1985 Offset Lithograph Hand Signed by Christo on the front upper left 24 1/2 × 37 inches Unframed This elega...

Jim Dine Untitled from the Castelli Sonnabend Collection, 1973 Screenprint on rag paper in original portfolio sleeve Hand signed and numbered 158/300 by Jim Dine on the front. Printe...

Robert Indiana Colby ART (Sheehan, 80), 1973 Silkscreen in Colors on White Wove Paper Pencil signed and numbered 69/100 on the front with artist's copyright @Robert Indiana lower right front Published by Robert Indiana with copyright; Printed by Seri-Arts, Inc. Vintage metal frame included Classic early 1970s work. There was a time, we are told, when every prestigious collector in Germany would have an edition of Robert Indiana's iconic ART print prominently hanging in their home. This is an uncommon and desirable Robert Indiana piece from the early 1970s. Boldly signed in graphite on the recto (front), numbered and bearing the artist's copyright: @ Robert Indiana 1973...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...

Mini Fab – Pride [2022] limited_edition and hand signed by the artist Cymk screen print and glitter Edition number 100 Image size: H:21 cm x W:14.8 cm Complete Size of Unframed Work...

Yes You Can Can (Splats Edition) by Amy Gardner [2020] limited_edition Screen Print, Watercolour Edition number 40 Image size: H:50 cm x W:50 cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Only AP works left in this edition. This print is about women supporting women. 'YES YOU CAN CAN' splats edition limited edition of 40 Archival Bread & Butter bright white paper 270gsm 50x 50cms 5 screen...

Artist: Robert Indiana, American (1928 - 2018) Title: Die Deutsche Liebe (The German LOVE) from the American Dream Portfolio Year: 1968 (1997) Medium: Silkscreen on Wove Paper Editio...

Artist: Robert Indiana, American (1928 - 2018) Title: Mississippi from the American Dream Portfolio Year: 1965 (1997) Medium: Serigraph Edition: 395 Image Size: 16 x 14 inches Size: ...

Richard Hamilton describes the genesis and printing of Kent State: “It had been on my mind that there might be a subject staring me in the face from the TV ...

Montreux Jazz Festival, 1983 Keith Haring Screenprint in colours, on wove Printed by Serigraphie Uldry Bern, Switzerland Published for the Montreux Jazz Festival Sheet: 100 × 70 cm...