Missouri - Prints and Multiples

Donald Baechler Girl with Suitcase, 1988 Woodcut in stenciled handmade paper print in colors 35 x 34 1/2 inches (88.9 x 87.6 cm) each Edition 12/22

Donald Baechler Tree, 1988 Woodcut in stenciled handmade paper print in colors 35 x 34 1/2 inches (88.9 x 87.6 cm) each Edition 12/22

Tom Friedman Untitled (Road Maps), 2005 Lambda print Image Dimensions: 40 1/4 x 31 1/4 inches (102.2 x 79.4 cm) Framed Dimensions: 45 1/8 x 36 1/4 x 2 inches (114.6 x 92.1 x 5.1 cm...

Tom Friedman Vanishing Point, 2006 Photogravure from 25 shaped plates and five blind embossments on Somerset satin paper Paper Dimensions: 42 7/8 x 40 3/8 inches (108.9 x 102.6 cm)...

Charline von Heyl Hawk Moths, 2016 Lithograph with pochoi 47 1/4 x 31 1/2 inches (120 x 80 cm) Edition 8/30

Framed Sam Francis (American, 1923-1994) Edition 58/100 in pencil Lower Left Signed in pencil Lower Right 17 x 22 inches 25.5 x 30.5 inches An Abstract Expressionist* painter known ...

Gary Paller Odd Vocation, 2013 Relief/Collagraph Print on paper Framed Dimensions: 49 x 34.5 inches (124.5 x 87.6 cm) Paper Dimensions: 44 x 30.5 inches (111.8 x 77.5 cm) Edition...

Marc Chagall Composition 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Signed in the stone Edition: 2,000 Annotated verso Publisher: Mourlot, Paris Printer: Mourl...

"Mlle Landsberg" (grade planche, pl. 16), 1914 Henri Matisse (French, 1869-1954) Signed and Numbered Lower Right Edition 12/15 Image size: 7 7/8 x 4 5/16 inches Sheet size: 17 11/16 x 12 1/2 inches With frame: 19 1/2 x 14 1/2 inches Henri Matisse came from a family who were of Flemish origin and lived near the Belgian border. At eight o'clock on the evening of December 31, 1869, he was born in his grandparents' home in the town of Le Cateau in the cheerless far north of France. His father was a self-made seed merchant who was a mixture of determination and tightly coiled tension. Henri had no clear idea of what he wanted to do with his life. He was a twenty-year-old law clerk convalescing from appendicitis when he first began to paint, using a box of colors given to him by his mother. Little more than a year later, in 1890, he had abandoned law and was studying art in Paris. The classes consisted of drawing from plaster casts and nude models and of copying paintings in the Louvre. He soon rebelled against the school's conservative atmosphere; he replaced the dark tones of his earliest works with brighter colors that reflected his awareness of Impressionism. Matisse was also a violinist; he took an odd pride in the notion that if his painting eye failed, he could support his family by fiddling on the streets of Paris. Henri found a girlfriend while studying art, and he fathered a daughter, Marguerite, by her in 1894. In 1898 he married another woman, Amelie Parayre. She adopted the beloved Marguerite; they eventually had two sons, Jean, a sculptor and Pierre who became an eminent art dealer. Relations between Matisse and his wife were often strained. He often dallied with other women, and they finally separated in 1939 over a model who had been hired as a companion for Mme. Matisse. She was Madame Lydia, and after Mme. Matisse left, she remained with Matisse until he died. Matisse spent the summer of 1905 working with Andre Derain in the small Mediterranean seaport of Collioure. They began using bright and dissonant colors. When they and their colleagues exhibited together, they caused a sensation. The critics and the public considered their paintings to be so crude and so roughly crafted that the group became known as Les Fauves (the wild beasts). By 1907, Matisse moved on from the concerns of Fauvism and turned his attention to studies of the human figure. He had begun to sculpt a few years earlier. In 1910, when he saw an exhibition of Islamic art, he was fascinated with the multiple patterned areas and adapted the decorative universe of the miniatures to his interiors. As a continuation of his interest in the "exotic", Matisse made extended trips to Morocco in 1912 and 1913. At the end of 1917, Matisse moved to Nice; he would spend part of each year there for the remainder of his life. A meticulous dandy, he wore a light tweed jacket amd a tie when he painted. He never used a palette, but instead squeezed his colors on to plain white kitchen dishes...

Joan Miro Lithographier Originale (one plate from Ceramique Murale pour Harvard) Original Color Lithograph, doublefold Year: 1961 Size: 14.5x21.6in Edition: 1,500 Portfolio: DLM 12...

Robert Indiana Classic LOVE (Pop Art, Modern, Neo-Dada, Iconography, Tuft, Framed) Tuft - Multiple 1996/2007 Size: 29.1x29.1in Edition: 10.000 COA provided Ref.: 924802-1819 * could come framed in a black or white frame made from composite wood/plastic. No glass. ** This piece has a lead time of 2-3 weeks Tags: Pop Art, Modern, Neo-Dada, Iconography, Tuft, Framedhy Robert Indiana was an American artist associated with the pop art movement. His "LOVE" print, first created for the Museum of Modern Art's Christmas card in 1965, was the basis for his 1970 Love sculpture and the widely distributed 1973 United States Postal Service...

Joan Miró Litografia Original I Color Lithograph Year: 1975 Size: 12.5 × 9.6 inches Catalogue Raisonné: Queneau, Miro Lithographe II, 1952-1963, p.35 Publisher: Maeght Editeur, Paris...

Joan Miró Untitled Composition 1973-1975 Color woodcut Edition: 1500 Unsigned and not individually numbered Publisher: Weber/Lelong Catalogue raisonné: Jacques Dupin Volume III Size:...

Joan Miró Litografia Originale VI Medium: Color Lithograph Year: 1975 Publisher: Graphis Arte, Livorno; Toninelli Arte Moderna, Milano Catalogue raisonné: Cramer 198 Size: 13.3 × 20....

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-...

Study/Falling Man (Series I) By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-2009) ...

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-...

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-...

Study/Falling Man (Series II) By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927-2009)...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped to Foam Core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Signed Artist Proof Lower Right Wrapped to Foam Core Ernest Tino Trova (American, 1927...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) 24 x 24 inches Wrapped on Foam core Signed Artist Proof Lower Right Ernest Tino Trova (American, 1927...

Study/Falling Man (Series II), 1967 By. Ernest Tino Trova (American, 1927-2009) Signed in Pencil Lower Right Color Lithograph Unframed: 6 x 6 inches With Frame: 8.75 x 8.5 inches Kn...

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) Black Frame, Green Background Signed in Pencil Lower Right Unframed: 6 x 6 inches With Frame: 8.75 x 8....

Study/Falling Man (Series I), 1967 By. Ernest Tino Trova (American, 1927-2009) Signed Lower Right in Pencil Screenprint, Available in Black or Silver Frame Unframed: 6 x 6 inches Wit...

Trova/Index, Waves, 1969 By. Ernest Tino Trova (American, 1927-2009) Signed in Pencil Lower Right Unframed: 10.5 x 7.5 inches With Frame: 15.25 x 11.75 inches Known for his Falling ...

Title: David Salle and Janet Leonard (From the portfolio 'Pas de Deux ') Artist: Alex Katz 1927 - PRESENT Year: 1993 Technique: Color screenprint Alex Katz's paintings and sculptures monumentalize common moments of everyday life. Katz was influenced by the golden age of the billboard business when hand-painted advertisements...

JOSEF ALBERS (1888 – 1976) "Formulation : Articulation" Portfolio II, Folder 25 Screen-printed geometric composition printed by Ives Stillman, Inc., New Haven, CT. From the set of 12...

Emil Nolde Tandelei (Tändelei) Woodcut on fine paper (Holzschnitt auf Karton) Year: 1917 Image Size: 11.811x9.527in Sheet Size: 16.614x13.425in Edition: 12 Signed and titled in pencil Catalogue Raisonné: Schiefler-Mosel H 134 III Framed Ref.: 924802-1749 Condition: Very good. Image intact; no tears, creases, foxing, staining or soiling Provenance: This piece has been graciously consigned with our gallery by a prominent Kansas City Private Collection. --------------------- Emil Nolde (born Hans Emil Hansen...

Jim Hodges and Andy Warhol I Remember Heaven Offset Lithograph with silver foil on glossy stock Year: 2007 Size: 24x18in Edition: 1,000 Unsigned and unnumbe...

Brittany Noriega Magnolia III (Matted) Laser transfer print on handmade paper Year: 2020 Size: 10x8in Signed by hand COA provided Ref.: 924802-1657 T...

Brittany Noriega Magnolia II on Pink (Matted) Laser transfer print on handmade paper Year: 2021 Size: 10x8in Signed by hand COA provided Ref.: 924802-...

Float Drawing, Venice By. Dale Chihuly (American, b. 1941) With frame: 40.75 x 28.75 inches Without frame: 36.5 x 24.75 inches Edition: 142/150 bottom right Signed in Paint bottom center Born in 1941 in Tacoma, Washington, Dale Chihuly was introduced to glass while studying interior design at the University of Washington. After graduating in 1965, Chihuly enrolled in the first glass program in the country, at the University of Wisconsin. He continued his studies at the Rhode Island School of Design (RISD), where he later established the glass program and taught for more than a decade. In 1968, after receiving a Fulbright Fellowship, he went to work at the Venini glass factory in Venice. There he observed the team approach to blowing glass, which is critical to the way he works today. In 1971, Chihuly co-founded Pilchuck Glass School in Washington State. With this international glass center, Chihuly has led the avant-garde in the development of glass as a fine art. His work is included in more than 200 hundred museum collections worldwide. He has been the recipient of many awards, including twelve honorary doctorates and two fellowships from the National Endowment for the Arts. Chihuly has created more than a dozen well-known series of works, among them Cylinders and Baskets in the 1970s; Seaforms, Macchia, Venetians, and Persians in the 1980s; Niijima Floats...

El Anatsui Variation I (B), 2014 Pigment print with hand collage and copper wire 23 x 30.2 inches (58.4 x 76.8 cm) Edition of 16

The Triangles and Spiral, 1973 By. Alexander Calder (American, 1898-1976) Signed Lower Right Numbered: 66/150 Unframed: 26 x 19.25 inches Framed: 34 x 27 inches Alexander Calder was born in Philadelphia in 1898. After obtaining his mechanical engineering degree from the Stevens Institute of Technology, Calder worked at various jobs before enrolling at the Art Students League in New York City in 1923. During his student years, he did line drawing for the National Police Gazette. In 1925, Calder published his first book, Animal Sketches...

Canyon Road, Santa Fe By. William Howard Shuster (American, 1893-1969) Signed Lower Right Edition of 100 Lower Center Titled Lower Left Unframed: 4" x 4.75" Framed: 15.75" x 15.25" A realist and early modernist painter, graphic artist, illustrator, and sculptor, Will Shuster became known primarily for his work in New Mexico where in 1920, he settled in Santa Fe, having been encouraged to come there by John Sloan. He had studied electrical engineering at the Drexel Institute in Philadelphia and later was a student of Sloan's in Santa Fe in both etching and painting. He was in World War I, where he suffered a gas attack. On his return, he studied with J William Server in Philadelphia but was advised to go West for his health. In Santa Fe in 1921, he became one of the founding members of Los Cinco Pintores...

David Morris All Blues Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached ver...

David Morris Sweet Georgia Brown (Oscar Peterson) Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached v...

David Morris Chicago Song Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: ...

David Morris A Warm Dance Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: ...

David Morris So What Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided Ref.: 92480...

Spectrum By. Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 158/180 Lower Left Unframed: 27" x 33.5" Framed: 36.5" x 43" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Emerging, 1985 By. Yaacov Agam ( Israeli, b. 1928) Color Serigraph Signed Lower Right Edition 1/12 Lower Left Unframed: 25" x 31" Framed: 34" x 43" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Curtain By. Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 221/227 Unframed: 18" x 22.5" Framed: 30.5" x 34.5" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Blue Rings (Abstract Composition), Serigraph By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 8/270 Lower Left Unframed: 21" x 21.5" Framed: 31" ...

Abstract Purple, Blue, Greens (Serigraph) By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 4/30 Lower Left Unframed: 14" x 33" Framed: 21" x 41" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Colossal Flashlight in Place of Hoover Dam, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Signed Lower Right Dated Middle Right Unframed: 23" x 22" Framed: 36.5" x 27.5" Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

Louise Marler You Are My Type Colorized Archival Pigment Print 2022 Size: 16x16in Edition: 25 Signed and numbered by hand Stamped COA provided Ref.: 924802-1411 Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art culture, as well as Joshua Tree, California, where I created the first Type Inn.” Louise Marler’s work is featured in the documentary film, “The Typewriter in the 21st Century,” and TV shows including “Two and a Half Men,” “Curb Your Enthusiasm,” “The Mentalist,” “Criminal Minds,” “Jane the Virgin,” “Dear White People,” “Lucifer,” “Arrested Development,” “Love Victor, and “A Black Lady Sketch.” typewriter queen, la marler, typewriter art, typewriter artist, Typewriter, Typewriters midcentury, modern art, typewriter life, typewriter community, typewriter collection...

Brittany Noriega Anemone I Laser Transfer on Handmade Paper Year: 2021 Size: 9 x 6 inches Edition: 10 Signed by hand COA provided Ref.: 924802-1046 Tags: floral, print, drawing, pap...

Banksy (after) Visit Historic Palestine Color Offset Lithograph on fine paper Year: 2018 Dry Stamp, Embossed Logo in the lower Left Corner Siz...

Gaudi XX, (D. 1079), 1979 By. Joan Miro Signed Lower Right Edition 41/50 Lower Left Unframed: 37.5" x 30.75" Framed: 46.5" x 39" Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in...

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

Fodder by John Costigan (1888-1972) Signed Lower Right Titled Lower Left 9.75" x 12.75" Unframed 17.5" x 19.75" Framed John Edwards Costigan was born in Providence, Rhode Island on ...

"Observador de Pajaros" 1950 By. Rufino Tamayo (Mexican, 1899-1991) Edition 83/200 Lower Right Signed Lower Left Unframed: 15.5" x 22.5" Framed: 21.75" x 28.25" Rufino Tamayo (August 26, 1899- June 24, 1991) A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria...

Abstract (Edition 95/100) By Bram Van Velde (1895-1981) Numbered Lower Left Signed Lower Center Unframed: 37" x 24" Framed: 37.5" x 25.25" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Abstract (Edition 75/100) By Bram Van Velde (1895-1981) Numbered Lower Left Signed Lower Center Unframed: 25" x 28" Framed: 31.5" x 34.5" Bram (Abraham Gerardus) van Velde was a Dutch painter known for an intensely colored and geometric semi-representational painting style related to Tachisme*, and Lyrical Abstraction*. He is often seen as member of the School of Paris* but his work resides somewhere between expressionism* and surrealism*, and evolved in the 1960s into an expressive abstract art. His paintings from the 1950s are similar to the contemporary work of Matisse, Picasso and the abstract expressionist Adolph Gottlieb. He was championed by a number of French-speaking writers, including Samuel Beckett and the poet André du...

Joan Miro Barcelona III (from Barcelona Suite) Etching and Aquatint and Carborundum in Colors on Guarro Wove paper Year: 1972 Edition: 50 Signed and ...

RF ART Corona 3D-construction Year: 2021 Signed and numbered by hand Edition: 10 Size: 33.1 × 23.4 on 33.7 × 24.0 inches COA provided *Lead Time may vary bet...