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Christo
CHRISTO 'UMBRELLA PROJECT-JAPAN/USA - 1985

1985

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L'AUTOAPOCALIPSE I
By Roberto Matta
Located in Pembroke Pines, FL
Roberto Sebastian Matta "L'Autoapocalipse I" Year: 1984. Dimensions Height 15.8in, Width 19.7in Etching on Fine art paper Edition: From the edition of 150 hand signed & numbered by t...
Category

1980s Contemporary Interior Prints

Materials

Etching

L'AUTOAPOCALIPSE III
By Roberto Matta
Located in Pembroke Pines, FL
Roberto Sebastian Matta "L'Autoapocalipse III" Year: 1984. Dimensions Height 15.8in, Width 19.7in Etching on Fine art paper Edition: From the edition of 150 hand signed & numbered by...
Category

1980s Contemporary Interior Prints

Materials

Etching

L'AUTOAPOCALIPSE II
By Roberto Matta
Located in Pembroke Pines, FL
Roberto Sebastian Matta "L'Autoapocalipse II" Year: 1984. Dimensions Height 15.8in, Width 19.7in Etching on Fine art paper Edition: From the edition of 150 hand signed & numbered by ...
Category

1980s Contemporary Interior Prints

Materials

Etching

THE CAT'S DEBUT - DIPTYCH
By (after) Dr. Seuss (Theodore Geisel)
Located in Pembroke Pines, FL
Dr Seuss THEODOR GEISEL "THE CAT'S DEBUT - DIPTYCH" Limited Edition - Serigraph on Coventry Paper Authorized Estate Edition Edition Size: 850 Arabic Numbers 99 Patrons’ Collection 15...
Category

2010s Pop Art Interior Prints

Materials

Screen

THE CAT'S DEBUT - DIPTYCH
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VICTOR VASARELY - OEUVRES PROFONDES CINETIQUES VII
By Victor Vasarely
Located in Pembroke Pines, FL
Artist: Victor Vasarely Title: Profound Works VII Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher...
Category

1970s Op Art Interior Prints

Materials

Screen

VICTOR VASARELY - OEUVRES PROFONDES CINETIQUES VI - 1973
By Victor Vasarely
Located in Pembroke Pines, FL
Artist: Victor Vasarely Title: Profound Works VI Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher:...
Category

1970s Op Art Interior Prints

Materials

Screen

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Located in Hamburg, DE
Paul Noble (British, b. 1963) Playframe, 2000 Medium: Offset lithograph on paper DImensions: 26 × 21 cm (10 1/5 × 8 3/10 in) Edition of 100: Hand-signed and numbered Condition: Excel...
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Christo, Iron Curtain – Wall of Barrels: Signed Print from 1968
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Christo (American-Bulgarian, b. 1935) Iron Curtain – Wall of Barrels, Rue Visconti Paris, June 1962, 1968 Medium: Color offset on cardboard Dimensions: 70 x 54 cm Edition of 100: Han...
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THE LAMP Vintage Art Poster, Original 1st Printing 1984, Civil Rights, Justice
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ROMARE BEARDEN 1970-1980 THE LAMP (after the 1984 collage on board by Bearden) Vintage Commemorative Poster - Brown v. Board of Education 30 Years later: "The Politics of Excellence...
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Romare Bearden JAMMING AT THE SAVOY Vintage 1981 Brooklyn Museum Poster, Jazz
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Located in Union City, NJ
ROMARE BEARDEN 1970-1980 The Brooklyn Museum, September 26-November 29, 1981 Exhibition Poster "Jamming At The Savoy" (image from original 14" x 18" collage on board by Bearden) 22 x 31.5 inches, unframed Poster is not signed. Jamming At The Savoy - vintage museum exhibition poster which is from the original first printing produced for Romare Bearden's exhibition at The Brooklyn Museum - Sept. 26 - Nov. 29, 1981. Published by J K Fine Art, organized by The Mint Museum Charlotte, NC and supported by Philip Morris Inc. and the National Endowment of The Arts. Jamming At The Savoy was printed in 4-color offset lithography on heavyweight semigloss paper with hot stamped lettering for the title texts. Jamming At The Savoy presents a rainbow colored, musical themed image by the master artist Romare Bearden that captures the lively sounds and mood of a high-spirited live jazz performance! Size - 22 x 31.5, unframed, unsigned, very good condition About the aartist- Romare Bearden (1911-1988) Born in Charlotte, North Carolina, Romare Bearden is one of America’s most esteemed African American contemporary artists...
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Gagosian Exhibition Catalogue: Jonas Wood Paintings (Hand Signed & Inscribed)
By Jonas Wood
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Jonas Wood Paintings (Hand Signed & Inscribed), 2019 Gagosian catalogue monograph, hand signed, dated and inscribed to Jane Hand signed, dated and inscribed by Jonas Wood to Jane, wi...
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Venice Biennale: XLIV Esposizione Internazionale D'arte (Hand signed by Kapoor)
By Anish Kapoor
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Anish Kapoor Venice Biennale: XLIV Esposizione Internazionale D'arte Biennale Di Venezia (Hand signed and inscribed by Anish Kapoor), 1990 HISTORIC signed poster published on the occasion of Kapoor representing Great Britain at the Venice Biennale Offset lithograph poster (Hand signed, inscribed to Nadine and dated 2016) Boldly signed, inscribed and dated by Anish Kapoor on the lower right front 33 × 23 inches Unframed Boldly signed and inscribed by Anish Kapoor on the lower right front for the present owner, Nadine, so provenance is direct. This offset lithograph poster was published on the occasion of Anish Kapoor's exhibition "XLIV Esposizione Internazionale D'Arte" at the Biennale Di Venezia from May 27 to September 30, 1990. Hand signed posters by Kapoor are quite elusive. The poster is two sided as it was published on the occasion of the artist's participation in the 1990 Venice Biennale (the verso has his lengthy biography), and it bears the original folds as issued. British-Indian sculptor Anish Kapoor was chosen to represent Britain at the first Biennale of the 1990s. He had been exhibiting since 1980 but it was this show that brought him widespread recognition on the international stage. Sixteen huge sandstone blocks dominated the Pavilion’s main room; they were so heavy that the floor had to be reinforced with supports. Kapoor had started working in stone in the late 1980s and each block in Void Field (1989) has a hole filled with another motif in his work, the powdered blue pigment used in Indian religious ceremonies. The same vibrant tones, which was also inspired also by Yves Klein’s statement bold blue colour, were used in his low-lying slate sculpture, A Wing at the Heart of Things (1990), in the back gallery of the Pavilion; this work is now part of Tate’s collection. “Venice is an interchange of East and West, reflecting the way Kapoor borrows from both cultures” said Henry Meyric Hughes, British Council. Kapoor’s exhibition also wove together references to spiritualism and eroticism, with the red slit in the Pavilion's wall, entitled The Healing of St. Thomas (1989), alluding to the saint that doubted Jesus’ resurrection...
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