Richard Serra

Sculpture: Forty Years (Book hand signed by Richard Serra)

2007

Peter Halley Jablonka Galerie, Köln (Hand Signed), 1990 Offset lithograph (Hand Signed by Peter Halley) 26 1/2 × 30 inches (ships rolled in a tube 37 x 6 x 6) Signed by Peter Halley ...

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...

Sean Scully Munich 1996 (Hand Signed), 2001 Offset Lithograph poster Hand signed and dated by Sean Scully in 2018 Boldly signed in black marker on the recto. Hand signed by Sean Scul...

Alpha 137 Gallery is honored to offer this historic offset lithograph of legendary American artist Peter Halley's 1998 exhibition of small paintings at Galerie Bruno Bischofberger in...

Richard Serra Marilyn Monroe - Greta Garbo Poster (Hand Signed), 1982 Offset Lithograph poster published by Leo Castelli Gallery Hand signed on lower front in black marker by Richard...

Christopher Wool Skate Deck, 2008 (Hand Signed and Dated 2017) Silkscreen on Maplewood (Hand Signed by Christopher Wool, with a dateline of New York, 2017) 31 × 8 × 3/10 inches Boldly signed and dated 2017 with the dateline "NYC" in black marker This skateboard was created in 2008 by Supreme, Inc. and is signed on the deck...

Condition: Book is in pristine condition and only opened to photograph the signature. Signature: Hand-signed by artist, Hand Signed By The Artist in Black Sharpie, KAWS 2021...

Jenny Holzer is one of the most important and original artists of the 20th century. Her body of work, with an emphasis on text, is consistently provocative and occasionally frightening, manipulating the language of both pop culture and government slogan to produce commentary on global issues notably power structures and warfare. Holzer's iconic "Inflammatory Essays", produced between 1979 and 1982, were first pasted on walls throughout heavily populated metro areas including New York and other cities. Composed of anonymous statements, printed on friendly or calm colored papers, the statements were influenced by writings of major political figures such as Emma Goldman...

Offset poster Text at bottom reads: “©1987 THE SILENCE = DEATH PROJECT. Used by permission by ACT UP, The AIDS Coalition To Unleash Power, 135 West 29th St., #10, NYC 10001” This a...

Original poster: Food and the War! American wheat to win! Rare and very seldom seen original World War 1 authentic vintage poster. Archi...

This is an original color lithograph map of the City of Milwaukee, published in 1895 by the Chicago mapmaker George Franklin Cram. It provides an excellent historic view of the city during the late nineteenth century, highlighting major neighborhoods, parks, companies and other historic landmarks. 20 x 13.5 inches, map 30.63 x 24.13 inches, frame Inscribed lower left "Map of Milwaukee; Published by George F. Cram; 61-63 Plymouth Place, Chicago" Framed to conservation standards using 100 percent rag silk-lined matting with a 1/4 inch bevel and museum glass, housed in a gold and bol metal gilded moulding. The George F. Cram Company traces its ancestry back to 1867, when a merchant named Rufus Blanchard, originally from Massachusetts, took his nephew George F. Cram into business with him in Evanston, Illinois, near Chicago. Prior to that, back East, Blanchard had prospered through the sale of globes, maps, and books, but after the Civil War had moved to the Midwest. He brought Cram into the trade as a partner. Cram, who was born on May 20, 1842, was fairly young at the time. He had served in the Union Army during the Civil War, and, reportedly, had a role as a cartographer for General Ulysses S. Grant. He also wrote several letters while serving under General William T. Sherman and participating in that military commander's celebrated "march to the sea." Years later, Cram's biography and letters would command enough historical interest to find their way into print. The company of the uncle and nephew, which sold maps and atlases...

Edition of 300 copies, 116 pp, including 27 original color lithographs by Antoni Clavé, including 8 out of text. Editions Galatea, Paris. Copy on Velin de Rives paper, in very good...