Takashi Murakami

TAKASHI MURAKAMI: We Are Destined To Meet Someday! Superflat, Japanese Pop Art

2017

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Leo Castelli Gallery (The Red Horseman)" *Dedicated, signed, and dated by Lichtenstein in pencil lower right Year: 1975...

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

ROBERT INDIANA Hirshhorn Museum & Sculpture Garden Opening Exhibition (Signed & Numbered Edition), 1974 Lithograph on wove paper 32 × 26 inches Signed and numbered 4/100 in pencil on...

James Rosenquist Cleveland Center for Contemporary Art 1968-1983 Offset Lithograph Poster on White Wove Paper Plate (printed) signature Limited Edition of 500 (unnumbered) Unframed A...

This is a rare, two-sided mass card from Andy Warhol's memorial mass, which was held on April 1, 1987 at St. Patrick's Cathedral in New York. The front of the card depicts Warhol's 1...

Jasper Johns Target with Four Faces, 1968 Offset lithograph poster for Merce Cunningham Dance Company Limited Edition of 300 (unsigned and unnumbered) 35 × 23 inches Printed by by U...

SUPER RARE! Invitation Card to private Andy Warhol Memorial Lunch, from the Estate of Tim Hunt, 1987 Offset lithograph card 6 1/2 × 3 3/5 inches Unframed This exclusive invitation to the private memorial lunch for Andy Warhol is an historic collectors item. Few people in the world own this card other than those who were invited to the event and/or their heirs, though it has occasionally appeared at public auction now that another generation has passed. This offset lithograph invitation card to Andy Warhol's Memorial Lunch at the Diamond Horseshoe in the Paramount Hotel bears an image of Andy Warhol's iconic 1967 Marilyn on one side, and on the other side is an announcement that reads as follows: ANDY WARHOL A Memorial Lunch Wednesday, April 1, 1987 The Diamond Horseshoe 235 West 46th Street New York City Special thanks to: Carillon Importers Caffe Condotti Glorious Food All leftover food and flowers will be donated to the homeless program at Church of the Heavenly Rest. Marilyn - Andy Warhol 1967 The provenance of this card is impressive as it comes from the estate of Warhol Foundation curator and sales agent Tim Hunt, who was married to bestselling author Tama Janowitz, author of "Slaves of New York". Tama would describe how she met Tim Hunt as follows:  "Andy Warhol died in 1987. In the long hot summer after, I bought a tiny basement apartment on West 70th Street over by West End Ave. That’s when I met Tim Hunt. A model for Werther’s Caramel and Ralph Lauren who’d gone to Oxford and had a brother who was a famous race car driver, he’d been with Christie’s a few years and had come over from England to work on the Warhol estate. He would later become my husband. Andy would have loved Tim. But the two had never met..." The event in this invitation is the more exclusive Memorial Lunch on April 1st 1987, held prior to Warhol's Memorial Mass at St. John the Divine, later that evening, the latter of which was attended by thousands of people. The press referred to this earlier event as a "Special Memorial Lunch Party" - using the vernacular of the day, as everything in the mid to late 1980s seemed like a party - until it was not. Interestingly, no start time, or even time range, is mentioned on this invitation - something that is rarely if ever missing from such an item; further evidence that it wasn't enough just to get this card; one had to already be in the know to be able to attend. Either that, or the lunch party was going on all day - so invitees could show up whenever they wanted. Or, alternatively, it was simply an accidental omission with no hidden message. And another side note: one of the sponsors of this Memorial luncheon, Carillon Importers, is the holding company or importer for Absolut Vodka, which commissioned Andy Warhol to create a series of advertising ads that would comprise one of the most successful, award-winning advertising campaigns of the era - and the most successful of the company's history. Who attended this event? Probably everybody who was anybody in the nexis of art, celebrity, high fashion and big business. Getty images features photographs by celebrity paparazzo Ron Galella of some of Warhol pals entering or leaving the Diamond Horseshoe for this exclusive event including Dianne Brill...

Ed Ruscha Paintings (Hand signed by Ed Ruscha), 2014 Offset lithograph print (Hand signed on the front) Published by Gagosian Gallery, Rome 26 × 27 inches Unframed Highly collectible when hand signed by Ed Ruscha Provenance: Donated by the artist to a major arts charity Acquired by the present owner from the above Accompanied by original documentation sheet from the charity as provenance This poster featuring Gal Chews Same Gum Since 1963 (2014) was produced in 2014, in conjunction with Ed Ruscha: Paintings at Gagosian, Rome. The exhibition included recent paintings in which the artist continues to meditate on the melancholy of the Psycho Spaghetti Westerns in complex pictures that conflate his signature elements with the visual devices, perspectival techniques, and refined atmospheres of old master paintings to depict the romantic road trip of youth reduced to roadside dystopia. Provenance: donated by Ed Ruscha to a major charitable arts organization. About Ed Ruscha: There are things that I’m constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That’s why taking things out of context is a useful tool to an artist. It’s the concept of taking something that’s not subject matter and making it subject matter. —Ed Ruscha At the start of his artistic career, Ed Ruscha called himself an “abstract artist ... who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial. In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. During his time in art school, he had been painting in the manner of Franz Kline and Willem de Kooning, and came across a reproduction of Jasper Johns’s Target...

JOE TILSON Culture Carriers Stamp Out Art (Hand Signed), from the Collection of Art Critic Anthony Haden-Guest, 1971 Lithograph mounted on franked Air...

Christo Monuments and Projects, 1968 Rare Limited Edition Lithograph and offset lithograph Hand signed, dated and numbered 5/100 by Christo on the lower left front Published by the ICA, University of Pennsylvania, Philadelphia, PA 23.25 x 18.5 inches Unframed This hand signed and numbered offset lithograph is one of the more elusive and desirable early Christo exhibition invitations, published on the occasion of his groundbreaking exhibition at the ICA in Philadelphia, when Christo was only 33 - and hand signed and numbered by Christo on the front, making it a true collectors' item. "...By mid-September 1968, Christo's attention focused on Monuments and Projects, his one-man exhibition opening October 4 at the University of Pennsylvania's Institute of Contemporary Art. It included earlier work and four on-site projects: 1,240 Oil Barrels Mastaba, Two Tons of Wrapped Hay, Two Wrapped Trees, and Seven Wrapped Women. Suzanne Delehanty, the assistant of ICA director Stephen Prokopoff, remembered: "I had to round up fifteen hundred-plus oil barrels, the equivalent of five freight cars full. They were to construct a truncated pyramid in our large fifty-by-fifty-foot gallery. Getting them wasn't easy. It meant disrupting oil companies' operations, since drums are needed at every stage of the delivery cycle. The materials Christo chose engaged this invisible system. Negotiations for loaning barrels were made with various companies by Stephen and Nathaniel Lieb, an ICA board member. I remember that one company wouldn't lend, but insisted on selling their barrels to us; after we returned them, they would give a refund—it was their way of doing a loan receipt. I had to convince the university business office not to worry about the ten- or fifteen-thousand-dollar invoice. We borrowed oil barrels from several companies: some did a straight loan based on an exchange of letters; others used their own system of inventory control. It was fascinating." While the multicolored oil barrels were stacked to form a massive mastaba in the ICA ground-floor entry gallery, two other works, Two Wrapped Trees and Two Tons of Wrapped Hay, took shape on the level above. The installation crew, paid M.F.A. students, alternated between unloading barrels and making forays into the countryside to gather bales of hay. Suzanne Delehanty reflected, "The bales of hay were stacked, creating a bulky structure, covered with tarpaulin and tied with rope." Another ICA work lasted only a few hours. When dinner guests arrived, seven wrapped female nudes awaited them. Each had been placed on a pedestal. Harry Shunk...