Alpha 137 Gallery Art

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

Richard Serra Synagoge Stommeln (German Synagogue) The Drowned and the Saved (Hand signed twice by Richard Serra), 1992 Offset lithograph poster (hand signed twice by Richard Serra) ...

Richard Serra Clara, Clara (Hand Signed by Richard Serra), 1983 Offset Lithograph Poster (Hand signed by Richard Serra) Boldly signed with black marker on the front Frame Included: held in original vintage 1980s frame This is the rare vintage offset lithograph poster of Richard Serra's 1983 work "Clara Clara", exhibited at the Pompidou Center in France in 1983-1984. Very collectible when hand signed by Richard Serra! Accompanied by gallery issued Certificate of Guarantee Measurements: Frame: 27.5 x 37.75 x 1 inch Print: 25.5 x 35.75 inches About Richard Serra: Obsession is what it comes down to. It is difficult to think without obsession, and it is impossible to create something without a foundation that is rigorous, incontrovertible, and, in fact, to some degree repetitive. Repetition is the ritual of obsession. Repetition is a way to jumpstart the indecision of beginning. To persevere and to begin over and over again is to continue the obsession with work. Work comes out of work. In order to work you must already be working. —Richard Serra One of the most significant artists of his generation, he has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Born in 1938 in San Francisco, Richard Serra lives and works in New York and on the North Fork of Long Island. Serra attended the University of California, Berkeley before transferring to the University of California, Santa Barbara graduating with a BA in English literature; he then studied painting at Yale University, New Haven, Connecticut completing both a BFA and MFA. He began showing with Leo Castelli in 1968, and his first solo exhibition in New York was held at the Leo Castelli Warehouse the following year. His first solo museum exhibition was held at the Pasadena Art Museum, California, in 1970. Serra’s sculptures and drawings have been celebrated with two retrospectives at the Museum of Modern Art, New York, twenty years apart: Richard Serra/Sculpture (1986) and Richard Serra Sculpture: Forty Years (2007). He has had solo exhibitions at the Stedelijk Museum, Amsterdam (1977–78); Kunsthalle Tübingen, Germany (1978); Staatliche Kunsthalle Baden-Baden, Germany (1978); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (1980, 2014, and 2017); Centre Pompidou, Paris (1983–84); Museum Haus Lange, Krefeld, Germany (1985); Louisiana Museum, Humlebæk, Denmark (1986); Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany (1987); Städtische Galerie im Lenbachhaus, Munich (1987); Stedelijk Van Abbemuseum, Eindhoven, Netherlands (1988); Bonnefantenmuseum, Maastricht, Netherlands (1990); Kunsthaus Zürich (1990); CAPC Musée d’Art Contemporain, Bordeaux, France (1990); Museo Nacional Centro de Arte Reina Sofía, Madrid (1992); Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany (1992); Dia Center for the Arts, New York (1997); Centro de Arte Hélio Oiticica, Rio de Janeiro (1997–98); Trajan’s Market, Rome (1999–2000); Pulitzer Arts Foundation, St. Louis (2003); and Museo Archeologico Nazionale di Napoli, Naples, Italy (2004). In 2005 The Matter of Time (1994–2005), a series of eight large-scale works, was installed permanently at the Guggenheim Museum Bilbao, Spain. For Monumenta 2008, the major site-specific installation Promenade was shown at the Grand Palais, Paris. Three years later the large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. A major traveling retrospective dedicated to Serra’s drawings was presented at the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, and the Menil Collection, Houston (the organizing venue), from 2011 to 2012. In 2014 the Qatar Museums Authority presented a two-venue retrospective survey of Serra’s work, and East-West/West-East (2014) was permanently installed in the Brouq Nature Reserve, Zekreet, Qatar. In 2017 the Museum Wiesbaden, Germany, presented Richard Serra: Props, Films, Early Works; an overview of Serra’s work in film and video was shown at the Kunstmuseum Basel; and recent drawings were featured at the Museum Boijmans Van Beuningen. Serra has participated in numerous major international exhibitions, including Documenta (1972, 1977, 1982, and 1987), and the Biennale di Venezia (1980, 1984, 2001, and 2013), and his work has been included in many Whitney Annuals and Biennials (1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006). He is the recipient of the Leone d’Oro for lifetime achievement, Biennale di Venezia, Venice (2001); Orden Pour le Mérite...

Richard Serra, Equal, 2015 (Hand Signed) Offset lithograph poster (hand signed by Richard Serra) Boldly signed in black marker on the front Published by David Zwirner; Designed by McCall Associates 24 × 36 inches Unframed Acquired from David Zwirner Gallery Very good condition other than gentle handling near the edges Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery Richard Serra Biography: Richard Serra was born in 1938 in San Francisco and lives and works in New York and the North Fork of Long Island. His first significant solo exhibition was held at the Leo Castelli Warehouse, New York, in 1969. His first solo museum exhibition took place at the Pasadena Art Museum in 1970. Serra has since participated in numerous international exhibitions, including documenta (1972, 1977, 1982, and 1987) in Kassel, Germany; the Venice Biennales of 1980, 1984, 2001, and 2013; and the Whitney Museum of American Art’s Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, 1995, and 2006. Solo exhibitions of Serra’s sculptural work have been held at numerous public institutions worldwide, including, among others, the Museum Boijmans Van Beuningen, Rotterdam, 1980; Musée National d’Art Moderne, Paris, 1984; Museum Haus Lange, Krefeld, 1985; The Museum of Modern Art, New York, 1986; Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster, 1987; Städtische Galerie im Lenbachhaus, Munich, 1987; Stedelijk Van Abbemuseum, Eindhoven, 1988; Kunsthaus Zürich, 1990; CAPC Musée d’Art Contemporain, Bordeaux, 1990; Museo Nacional Centro de Arte Reina Sofía, Madrid, 1992; Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992; Dia Center for the Arts, New York, 1997; Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; Trajan’s Market, Rome, 2000; Pulitzer Foundation for the Arts, St. Louis, 2003; and Museo Archeologico Nazionale di Napoli, Naples, 2004. In 2005, The Matter of Time, a series of eight large-scale works by Serra from 1994 to 2005, was installed permanently at the Guggenheim Museum Bilbao, and in 2007, The Museum of Modern Art, New York, presented the retrospective Richard Serra Sculpture: Forty Years. Promenade, a major site-specific installation, was shown at the Grand Palais, Paris, for MONUMENTA 2008. In 2011, the artist’s large-scale, site-specific sculpture 7 was permanently installed opposite the Museum of Islamic Art in Doha, Qatar. In 2014, the Qatar Museum Authority presented a two-venue retrospective survey of Serra’s work at the QMA Gallery and the Al Riwaq exhibition space, Doha, and East-West/West-East, 2014, was permanently installed in the Brouq Nature Reserve in the Zekreet Desert, Qatar. In June 2020, a new major sculpture by Serra was installed on the West Quad of Kenyon College, in Gambier, Ohio. In June 2022, the Glenstone Museum in Potomac, Maryland, will inaugurate a new building specially conceived to house a recent large-scale forged steel sculpture by Serra. Museum exhibitions that have focused on the artist’s drawings include Richard Serra: Tekeningen/Drawings 1971–1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971–1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen/Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997–1998; and Richard Serra: Drawings: Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008. A major traveling retrospective dedicated to the artist’s drawings was presented at The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and The Menil Collection, Houston (which was the organizing venue), in 2011–2012. The Courtauld Gallery, London, presented Richard Serra: Drawings for The Courtauld in 2013, and Richard Serra: desenhos na casa da Gávea was on view at Instituto Moreira Salles, Rio de Janeiro, in 2014. Richard Serra: Drawings 2015–2017, a significant overview of the artist’s recent works on paper, was on view at the Museum Boijmans Van Beuningen, Rotterdam, in 2017. Serra/Seurat. Drawings, an exhibition pairing a selection of Serra’s recent drawings alongside those by Georges Seurat, was presented at the Guggenheim Bilbao in 2022. Four Rounds: Equal Weight, Unequal Measure, Serra’s monumental sculpture which debuted at David Zwirner in 2017, is now on long-term view at Glenstone Museum, Potomac, Maryland, in a new building that was designed by Thomas Phifer in collaboration with the artist. Serra has been the recipient of many notable prizes and awards, including a J. Paul Getty Medal (2018) awarded in honor of extraordinary contributions to the practice, understanding, and support of the arts; the Chevalier de l’Ordre national de la Légion d’honneur, Republic of France (2015); Orden de las Artes y las Letras de España, Spain (2008); Orden pour le Mérite...

Jasper Johns Jasper Johns Drawings (Hand signed and inscribed to Michael Crichton's brother), 1980-1981 Color offset Lithograph poster for Margo Leavin Gallery exhibition Signed, dated and dedicated in ink by Jasper Johns on the front Vintage metal frame included Jasper Johns’s first truly abstract artworks are his “Crosshatch” paintings and prints, which he developed from 1972 to 1983. These compositions feature hatched lines in various colors, though the term “Crosshatch” is a bit of a misnomer—Johns’s lines...

Jasper Johns and Phong Bui Offset lithograph card of portrait of Jasper Johns by Phong Bui (hand signed and dated by Jasper Johns), 2008 Card depicting a portrait of Jasper Johns by ...

Stanley William Hayter Big Horse (Black & Moorhead 46), 1932 Engraving & Drypoint on antique white Canson Vidalon laid paper affixed to original matting Hand signed, numbered 8/30 an...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives...

Stanley WIlliam (Bill) Hayter Meduse, 1958 High Viscosity Etching & Engraving Pencil signed, titled and numbered from the edition of 50 (10/50) on th...

Takashi Murakami Unique drawing (Two Flowers) created for the Modern Art Museum, Ft. Worth, Texas, 2018 Original drawing done in marker, and bound on title page of hardback monograph...

Piero Dorazio Untitled Geometric Abstraction (deaccessioned from the Triton Museum, Santa Clara, CA), 1968 Lithograph on white BFK paper Hand signed, numbered (AP), dated on the fron...

Piero Dorazio Abstract Composition (Bank of New York Corporate Collection), 1971 Lithograph on wove paper Pencil signed, numbered 73/75 and dated on the front. The back bears a label from Bank of New York's Corporate Art collection. Frame Included This is an exquisite, uncommon abstract lithograph from the early 1970s by Piero Dorazio. It was acquired from the Bank of New York Corporate Art Collection, and bears their inventory label on the back of the frame. It is framed in an elegant museum frame, with UV plexiglass, bearing the date of the framing (2008), and the name of the Manhattan frame...

Piero Dorazio Untitled Mid Century Modern Geometric Abstraction, 1967 Color Lithograph on Rives BFK wove paper Hand signed, numbered 68/80 and dated on the front 29 1/4 × 21 inches U...

Mark Grotjahn Black Flower (signed and inscribed to art historian Norman Rosenthal), 2006 Original flower drawing done in black marker, hand signed, titled and inscribed, bound in ha...

Alan Davie Guli Wall, 1971 Lithograph on Rives BFK Paper with Deckled Edges Hand signed, numbered 26/200 and dated on the lower front 20 × 25 1/2 inches Unframed This whimsical mid-century modern hand signed, dated and numbered print by renowned Scottish-born British Pop artist Alan Davie published in 1971 was chosen to be included in the 1975 portfolio for the Swiss Society for Fine Arts (Grafikmappe des Schweizerischen Kunstvereins) as part of an international portfolio of 27 prints by world renowned artists including Jasper Johns, Christo, Valerio Adami, Shusaku Arakawa, Robert Cottingham, Richard Paul Lohse, Gerhard Richter, Dieter Roth, Pierre Tal Coat and many others.. Hand signed and numbered from the edition of 200. Unframed and in fine condition. This vintage European print...

Thelma Appel Times Square I, 2014 Acrylic and Fabric Collage Painting on Canvas hand signed, titled and dated on the verso Held in a hand made white wood frame This work was featured...

Lynn Leland Untitled Op Art painting, 1967-1968 Acrylic on Canvas (with Albright Knox Gallery Label, A. M Sachs Gallery Label, Atlantic Richfield Corporate Art Collection label and A...

Nancy Graves Nancy Graves: A Survey 1969/1980 (Hand signed and inscribed to Dick Polich of Tallix), 1980 Offset lithograph poster (hand signed, dated and inscribed) signed, dated and...

Forrest Myers Untitled geometric abstraction, 1976 Painted aluminum Signed in the metal with the artist's incised initials (FM) and stamp numbered 52/75; bears Treitel-Gratz foundry ...

Robert Rauschenberg International Very Special Arts Festival, 1989 Lithograph on wove paper Signed, dated and numbered from the edition of 275 in graphite pencil on the front 38 1/4 ...

Robert Petersen May 1987, 1987 Pure pigment collage, gold leaf, acrylic painting and drawing Signed, titled and dated on the front. The back of the frame bears the label of Castelli Uptown (4 East 77th Street) This is a unique work Frame Included: floated and framed in vintage wood frame under acrylic with Castelli label on back This unique mixed media Robert Petersen pigment collage, with drawing and gold leaf and acrylic painting is floated against beveled edges, then matted and framed in a gorgeous light wood museum frame. It bears the label of Castelli Uptown on the back. Petersen, an American contemporary artist born in 1945, worked as an assistant to Robert Rauschenberg for 10 years from 1970 to 1980. He is a versatile artist, working in painting, drawing, printmaking, sculpture and collages, but is perhaps best known as a collagist, Robert Petersen was born in 1943 in the small farm town of Le Mars, Iowa. Petersen lived and worked closely with Rauschenberg on Captiva Island until 1980. In 1973, Petersen had his first solo show at Galerie Sonnabend in Paris, France, which was followed by numerous solo and group exhibitions worldwide. His work is represented in private and public collections internationally including the Centre Georges Pompidou, Musee National d'Art Moderne in Paris, France; The Metropolitan Museum of Art, New York, NY; Francois Pinault, Venice, Italy; Robert Rauschenberg Foundation, New York, NY; James Rosenquist, Aripeka, FL; Ileana & Michael Sonnabend, New York, NY; Cy Twombly Foundation, Rome, Italy, and Universal Limited Art Editions, NY. Measurements: Framed: 31 inches x 38.25 inches x 1.75 inches Artwork: 25 inches x 32 inches More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen established the experimental print shop, Untitled Press, Inc., where they not only printed their own work but also for visiting artists including David Bradshaw, Brice Marden, Hisachika Takahashi, Cy Twombly, and Robert Whitman. Petersen lived and worked closely with Rauschenberg on Captiva Island until 1980. During the early 1970's Petersen predominately created monochromatic minimalist work and then began to explore the possibilities presented by his intricate sketch pages. In 1976, Petersen made his first monthly inspired journal drawing from the highlights of his sketchbook where he collected observations of daily surroundings, drawings for future work, musings, postcards, photographs, and ephemera such as calendar clippings and magazine illustrations. This technique continues to serve as the basis for his present work. In 1973, Petersen had his first solo show at Galerie Sonnabend in Paris, France, which was followed by numerous solo and group exhibitions worldwide. His work is represented in private and public collections internationally including the Centre Georges Pompidou, Musee National d'Art Moderne in Paris, France; The Metropolitan Museum of Art, New York, NY; Francois Pinault, Venice, Italy; Robert Rauschenberg Foundation, New York, NY; James Rosenquist, Aripeka, FL; Ileana & Michael Sonnabend, New York, NY; Cy Twombly Foundation, Rome, Italy, and Universal Limited Art Editions, NY. Petersen currently works in Tivoli, NY where he lives with his wife, Cinda Sparling...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Accompanied by Certificate of Guara...

Christo The Wrapped Reichstag at Night (Hand Signed), 1993 Offset Lithograph Hand signed by Christo on lower right front 40 × 25 1/2 inches Unframed and affixed to matting (as it ha...

Christo and Jeanne-Claude Project for documenta IV, Kassel, 5600 Cubicmeter Package, 1968 Gelatin silver print. Boldly signed, dated, numbered 12/50 and inscribed in black marker by...

Christo and Jeanne-Claude The Wrapped (MCA), 1969 (Hand Signed), 2019 Four-color offset lithograph on 110 lb. Crane Lettra Cover stock, with an elegant gold foil stamp. Hand Signed ...

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...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

Vito Acconci Thou Shalt Not Commit Adultery (The Seventh Commandment), 1987 3 Color Lithograph with Collage with Rives paper Hand signed and numbered AP 2/15 on the front Also bears ...

Mary Frank Untitled 3-D Cast Paper Collage, 1985 3D Cast Paper with Deckled Edges Hand signed, numbered 78/85 and dated by the artist on lower left front 21 3/4 × 28 1/2 × 1 3/4 inch...

Remo Farruggio Blue Machine, ca. 1949 Original oil painting on masonite Signed on the front and titled on the back 7 1/2 × 9 1/2 inches Unframed This is mid century modern oil painti...

Remo Farruggio Untitled Mid Century Modern abstraction (original oil painting), ca. 1947 Oil painting on masonite board Hand signed by Remo Farruggio on the lower right front 16 × 20...

DONALD BAECHLER Birds, 1995 Lithograph on wove paper 11 63/100 × 7 47/50 inches Hand signed, dated and numbered 9/20 on the front; bears the publishers' distinctive blind stamp lower...

Donald Baechler The Benefit Mummy, 2005 Linoleum print, one color, with chine colle, on Rives BFK paper Rare print from an edition of only 17, with documentation sheet from Artist's ...

Kenny Scharf Bad Girls, 1989 Lithograph done with 9 colors and 10 plates on Velin Arches Blanc paper Hand signed and numbered PP by Kenny Scharf on the front Unframed: the work was r...

Kenny Scharf Untitled from the environmental portfolio "Columbus: In Search of a New Tomorrow", 1992 Color silkscreen on Fabriano paper with blind stamp, held in the original portfol...

Sean Scully Hand Signed print Geometric Abstraction Minimalist, 1989 Offset lithograph poster Boldly signed in black marker on the front by Sean Scully 29 3/4 x 20 inches Unframed Th...

Sean Scully Estampes, France (Hand Signed), 2006 Offset Lithograph poster Boldly signed in black marker on the front by Sean Scully for the present owner Unframed This is a wonderful piece for true Scully fans. It's a rare 2006 poster from the European exhibition entitled "Sean Scully Estampes" (Sean Scully Prints...

Paul McCarthy Doll, Limited Edition Skate Deck, 2016 Silkscreen on 7-Ply Canadian Maplewood Skate Deck. Numbered from the edition of 250. Signed on the deck. (Printed). Numbered from...

Chuck Close Life (hand signed by both Chuck Close and Christopher Finch), 2010 Hardback monograph with dust jacket Hand signed by both Chuck Close and Christopher Finch on the title ...

Grisha Bruskin Note D, 1991 Color silkscreen on Somerset paper 34 × 27 inches Edition 74/75 Boldly signed and numbered on front in graphite pencil. Published by Marlborough Graphics ...

Alfred Jensen Duality Triumphant I (Mid Century Modern Geometric Abstraction), 1963 Color Silkscreen on wove paper Pencil signed, dated, named and number 19/52 by Alfred Jensen on th...

James Rosenquist Somewhere to Light, WACO, Texas 1966, from the New York International Portfolio Lithograph on wove paper Pencil signed and numbered 112/225 on the front Catalogue Ra...

Ben Eine SCARY (Hand painted Skateboard Skate Deck), 2017 Hand painted with blue skate deck on 100% Canadian maplewood Boldly signed and dated on the front in black marker; numbered ...

Doug Ohlson Untitled geometric abstraction, 1968 Color silkscreen on wove paper Hand signed, dated and numbered 15/50 on the front This dazzling 1960s Op Art/Geometric Abstraction si...

Doug Ohlson Untitled 1960s Op Art Silkscreen, 1968 Color silkscreen on wove paper 22. × 18 1/5 inches x .5 inches Hand signed, dated and numbered 15/50 on the front Frame included: h...

Yinka Shonibare Fabric-ation, 2013 Original Dutch wax print fabric chosen by the artist on Hardback cloth bound monograph with fabric covered board 12 1/2 × 11 × 1 1/2 inches Edition...

JACQUES LIPCHITZ Study for Bull and Condor, 1964 Original Ink on gouache on Paper drawing and signed lower left front Unique Held in the original vintage frame This work is from th...

Alfred Jensen Untitled (Deluxe Artists & Collaborators Edition of the One Cent Life portfolio), 1964 Color lithograph on two pages wove paper (from the Artists & Collaborators hand s...

MEL RAMOS Señorita Rio, from the Deluxe signed edition of 1 Cent Life (Artists & Collaborators), 1963 Color lithograph on wove paper Hand signed and dated on the lower right front; print numbered on the colophon page a copy of which is affixed to the back of the frame (see photo) Edition 85/100 Published by E.W. Kornfeld, Germany, Written by Walasse Ting, Edited by Sam Francis Framed: Elegantly floated and framed in a museum quality wood frame with UV plexiglass Provenance: Acquired from original, complete 1 Cent Life Portfolio, # 85/100 (Artists & Collaborators) from the Estate and Collection of Robert Indiana This original lithograph, splayed across two pages, is from the Deluxe edition of the legendary 1 Cent Life Portfolio, one of the most documented and celebrated artistic collaborations of the 1960s. Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Pop Artist Mel Ramos, along with the European COBRA artist to create the definitive artistic portfolio, with text by Walasse Ting. The Deluxe edition, which features hand signed prints was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Mel Ramos lithograph is from the portfolio numbered 85 (Artists & Collaborators), which was acquired from the Estate and Collection of Robert Indiana, one of the artists who contribute to the 1 Cent Life portfolio. The racy text to the right of the print -- an anti-Corporate American screed, was written by Walasse Ting. It is elegantly floated and framed in. amuseum frame with UV plexiglass. Signed examples of this portfolio with such superb provenance rarely appear on the marketplace. This is a true collectors item, from the most desirable and influential era in Pop Art history. Mel Ramos became famous for his ironic portraits of pin ups and how they are used in American advertising. (see detailed biography below). The poem called America to the right of the lithograph, entitled "America" was written by Chinese born artist Walasse Ting, and matches the image perfectly, as it's also a commentary on American commercial culture. The poem begins: Brain made by IBM & FBI stomach supported by A & P and Horn & Hardart love supported by Time & Life tongue supported by American Telephone & Telegraph soul made by 7up skin start with Max Factor heart red as U.S. Steel Measurements: Framed 19 inches vertical by 26 inches by 2 inches Lithograph 16 inches vertical by 22.5 inches More about the Signed (Deluxe) Edition of 1 Cent Life portfolio In 1962, the Chinese-American artist Walasse Ting shared his dream project with painter Sam Francis: to create an anthology of his poetry illustrated by leading artists of their time. Over the next two years, Ting and Francis recruited leading Abstract Expressionists and Pop artists—Andy Warhol, Joan Mitchell, Robert Rauschenberg...

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