281 results for "vintage gold frames lot"

Limited Edition 18k Yellow Gold Salvador Dali Christ Saint John On The Cross Pendant Necklace / Bracelet This is a limited edition numbered piece from 1970's, number 108 out of 1000...

This is a one of a kind original acrylic and gold leaf still life painting by San Diego artist, Duke Windsor. Its dimensions are 12"x12". It is unframed. A certificate of authentici...

London: Adam & Charles Black, 1909. FIRST, LIMITED EDITION 4to, 10 1/2 x 8 1/2 inches (268 x 215 mm); xii, 185, (2) pp., plus 75 full-page color illustrations, from works by Mortimer...

–Stone(s)– (12) Natural Multi Colors Gemstone & Diamond - Round Brilliant Cut - Bezel Set - Multi Colors - 3mm each(approx.) Material: 14k Yellow Gold Weight: 6.5 Grams Overall Widt...

This remarkable 18K yellow gold jewelry piece is a true masterpiece, boasting an extraordinary combination of rubies and diamonds. At its heart are two cabochon-shaped ruby stones, s...

Adorn yourself with this elegant 18K White Gold pendant, featuring four stunning princess-cut natural diamonds with a total carat weight of 0.28ct, boasting an F color grade and VS c...

This resplendent 18K white gold double-row collar necklace is a breathtaking masterpiece of regal opulence and majestic design. Sourced from fine estate collections, this unbranded h...

Foliate scrollwork and bright-cut engraving frame the central shield of this articulated nine-carat gold prize medal. The front displays a multi-part applied escutcheon bearing the e...

A classic half hunter configuration defines this gentleman's pocket watch, featuring a central glazed aperture to the front cover framed by inlaid dark blue enamel Roman numerals and...

A miniature polychrome enamel panel depicting a classically robed couple embracing their infant child forms the centrepiece of the gold case back. The painted medallion is framed by ...

ART NOUVEAU 14k white gold brooch decorated with black enamel and set with old European cut diamonds. 1.00ct – F/G – VS/SI – 7.8 grams detailed description: the size of the brooc...

Swirling rosettes of graduated split pearls form the striking focal point across the reverse of this gold case, radiating outward from a vivid bezel-set pink ruby. The swirling tendrils are offset by additional accent stones and completely surrounded by an intricate ground composed of hundreds of miniature seed pearls, creating a textured, shimmering mosaic across the entire back. Matching gem-set craftsmanship continues across the front and fittings. Both the front bezel and rear outer rim feature an alternating border of circular pink rubies framed by petite pearls. The spherical pendant is entirely encrusted with seed pearls, leading to an arched suspension bow set with rubies and matching pearls on both faces. Beneath the front crystal sits a matte gilt dial with slender black Arabic numerals and a delicate outer minute track. Time is indicated by blued steel hands, with an offset aperture between the three and four positions designed for key winding directly through the dial face. Inside, the watch houses a Swiss gilt-finished bar movement operating with a cylinder escapement, featuring a plain balance cock and a polished steel regulating arm. Dating to circa 1840, the watch measures 4.1 cm across and is housed within a shaped green morocco leather box...

A finely patterned engine-turned centre distinguishes the solid gold dial, bordered by applied Arabic numerals arranged radially in gold relief. Time is indicated by distinctive gold...

A fine and impressive antique Art Deco 1.46 carat diamond and 14 karat yellow gold, silver set dress ring; part of our diverse antique jewelry and estate jewelry collections. This f...

Beautiful Antique Chandelier is manufactured in France, in 1920s. Three white matte lampshades framed by aged bronze look, on the one h...

Edwardian moonstone bracelet in 14 karat gold. Bracelet composed of a line of moonstone cabochons, each bezel-set. The moonstones display a luminous blue, at times milky, sheen. The ...

The 18th century French frame is of gold and silver leaf, and restored to bring it to its former glory. The painting inside is of the 21st ce...

This is an 18th century hand-colored copperplate engraved map entitled "Europa Regnorum Provinciarum Regionum" created by the German cartographer Tobias Conrad Lotter. It was publish...

Abstract art experiments with the use of texture, tone, and light perception. Through abstract works, the artist expresses her feelings rather than particular objects or scenes. Wit...

'Lot Cleaning, Los Angeles', wood engraving, edition 60 (only 53 signed, titled, and numbered impressions, two unsigned) Wien 169. Signed, titled and numbered '51/60' in pencil. A br...

Rare Antique Framed Collection of Cotillon Medals and Christmas Ornaments, Vienna, circa 1900 A rare and charming framed collection of antique Cotillon medals and festive ornaments,...

Joseph LÉPINE (Rochefort 1867 – Paris 1943) The Church of Caillac - Lot Oil on cardboard H. 33 cm; W. 41 cm Signed lower left Joseph Lépine quickly moved to Bordeaux, where he studied under Louis-Alexandre Cabié, a well-known landscape painter in the region and teacher of many early 20th-century artists. Despite the master's warnings, he sought to confront the Parisian modernity of the late 19th century and discover Impressionist and even early Post-Impressionist styles. There, he became a student of the neoclassical painters Courtois and Girardot, both former students of the great Jean-Léon Gérôme. In 1897, he exhibited at the Salon, where he sent landscapes of Provence. He became a member of the Société des Artistes Indépendants in 1905, the same year that the Fauves Matisse, Derain, and Vlaminck participated in and became known at the Salon d'Automne. A purchase by the French government of the 1908 Salon des Indépendants, "Vieille boutique," now housed at the Menton Museum, officially launched his career. He exhibited that year in London at the Royal Albert Hall, at the invitation of the Allied Artists' Association, demonstrating the painter's distinguished status within the international art scene. In Paris, the artist met several well-known painters of the time in the Montmartre and Montparnasse neighborhoods, including Matisse and Signac. His painting is based in particular on his approach to material, light, and color, whose juxtapositions present a play of saturation and composition based on apparent reserves. After the First World War, Lépine returned more to his home region, where he painted landscapes around Bordeaux and up the Dordogne River to the charming landscapes of the lower Corrèze. He painted Beaulieu-sur-Dordogne, Argentat, and also the Lot region, with the built-up escarpments of Saint Circq Lapopie. The city of Bordeaux and the French government acquired two of his works, representing a landscape near Verdelais and a view of the Saint-Michel Church in Bordeaux, in 1939 and 1941. Considered today a very important figure in Bordeaux painting...

Lot of four ink drawings by the german surrealist painter Sven Hauptmann. all signed. framed

An important Portuguese painting from the mid-17th century. This oil-on-canvas painting, attributed to the circle of Diogo Pereira (1630–1658), depicts Lot and his family fleeing the...

Photography with Polaroid camera, scanned and covered in encaustic wax

Impressive faux bamboo mirror with extensive patina. The mirror is pealing at some places and the wood shows lots of patina too. The general feeling is very warm. Elegant mirror from England around 1880. ________________________________________________________ Sous le Second Empire, le mobilier est le fruit de la combinaison des techniques traditionnelles et des nouveaux procédés industriels. La scie, la toupie...

A winter day in one little corner of the neighborhood, where a minivan is parked in a mostly empty lot. Colorful traditional homes are in the background. A typical scene in American ...

Holy Bible -  Lot's Wide turned into a Statue of Salt is Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Medi...

A hazy, peaceful depiction of Lot Valley, France in Autumn, rendered in a loose impressionist style. Well presented in a gilt-effect frame. Signed and dated in the lower right corner...

Original Mudd Club poster, New York 1979: A must have for any true Jean Michel Basquiat, Keith Haring collector - this piece is featured in the 2017 Jean-Michel Basquiat documentary, 'Boom For Real.' Promotional poster. 1979. Artwork Dimensions: 18x24 inches (19x25 inches). Very good overall vintage condition condition; some minor fading consistent with age. Minor wear to frame. Provenance: Obtained directly from the original art designer. The Mudd Club was founded by filmmaker Steve Mass, art curator Diego Cortez, and downtown punk scene figure Anya Phillips...

Mario Soria (Spanish, b. 1966) Oil on board, toys and tinted varnish with chrome effect. Born in Spain in 1966, Mario Soria wanted to paint for as long...

Large painting of a parking lot here in Los Angeles, California. Spray paint, acrylic and oil on canvas. :: Painting :: Fine Art :: This piece comes with an official certificate of a...

This painting was created to help viewers manifest love. My hope is that my art will serve as a reminder that reality is fluid and flexible and that we can manifest a better future b...

A French Impressionist oil on canvas view of a river in parkland by the noted French artist Albert Uriet. The painting is signed and dated bottom right and is presented in a fine car...

Framed Sizes 13" x 15" and 10" x 12" Giani D'Oro (Italian) Lot of Two, Scenes of Naples with Vesuvius Erupting, Oil on Card, Both Signed on Front, La...

original en plein air oil on panel :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed:...

Vintage 1980s Grace Jones photograph: Grace Jones photographed on the scene of New York's Palladium nightclub circa 1989 by noted New York underground photographer, Fernando Natalici...

Patty deGrandpre’s “Are We There Yet? (a bit of Colorado & a lot of Texas)” is a 4.5 x 14.375 inch unique abstract inkjet print represented on 11 x 16.5 inch Awagami Bamboo Japanese paper embracing both the art of digital printmaking, minimalism, and creative photography. A green hue gradates over a photo of a snow capped mountain range taken along the iconic Independence Pass in Colorado and begins the progression of images in this striking abstract landscape. A thin dark pink bar sits horizontally within the snow complimenting the format of the artwork. Two distinct depictions of blue cactus...

Vintage Vinyl Record Art by Keith Haring with bright, lush colors that make for stand-out wall art within reach: Year: 1986. Off-Set Lithograph on record jacket, vinyl record. Dimen...

This is a Scandinavian vintage oil on canvas painting with motive of a village behind vast, green fields. A church is reaching above the rooftops of several houses and a windmill app...

A fine early 19th century portrait in watercolour depicting Madonna and her child. Presented in a beautiful 19th century frame with foliate and acanthus corner mouldings. Unsigned. O...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

Capelán's work stands out for its rigorous handling of diverse artistic techniques and procedures, ranging from drawing to installation, including painting, printmaking, photography,...

Art Sz: 10"H x 14"W Frame Sz: 16 1/4"H x 20 1/4"W Watercolour and bodycolour George Finch Mason (1850-1915) was a sporting artist, author and illustrator, specialising in humorous...

Pierre Coquet - Still life with bottles and an old iron Reference number F287 This is a oil on canvas and wear the stamp of the signature in the bottom right. The painting is not fra...

Vintage Robert Motherwell Announcement cards: Set of 3 announcement cards featuring his works "Color Intaglios", "Elegy fragment II" as well as work from his show "Robert Motherwel...

Acrylic on canvas, artwork signed at the back Zhao De-Wei is a Chinese artist born in 1960 who lives & works in Beijing, China. Zhao’s art was initially based on Pollock’s select sp...

Vintage original 1970s Alexander Calder Lithograph: 11x15 inches. Very good overall vintage condition. Unsigned from an edition of unknown. Portfolio: Derriere le Miroir. Derrièr...

Damien Hirst produced this album design exclusively for the heralded UK music group The Hours in 2009. Housed in a thick card gate-fold picture sleeve with a Bonus 12" x 12" Picture ...

Keith Haring Galerie Paul Maenz, Cologne, Germany 1984: Super rare announcement card designed by Haring on occasion of his 1984 solo exhibition (3 May - 5 June 1984), at Paul Maenz G...

Takashi Murakami Record Art 2018 (Takashi Murakami Kanye West Kid Cudi): This Takashi Murakami designed cover & record album is for Kids See Ghosts and is the only studio album by t...

We are delighted to offer for sale this lovely selection of wall hanging pictures covering a range of American folk art This is a selection of man cave display items from America, the listing includes the following 1:- Solid Silver Troy ounce coin, September 11th 2001 Land of the free commemoration 2:- An American flag pin broach...

1960s Francis Bacon lithograph from Derrière le miroir: Well-suited for matting & framing, this original 1960's print is derived from Bacon's ...

Jean-Michel Basquiat (untitled), 'MAN MADE Sweatshirt', c. 1979: Basquiat produced this rare original hand-painted sweatshirt (among others, with only few known to have survived) for the purposes of selling these on his own and through the historic downtown fashion boutique, Patricia Field’s. Basquiat was captured wearing a similar example in the well publicized 1979 photo, 'Basquiat Dancing at The Mudd Club' by Nicholas Taylor of Gray. This double-sided work notably features Basquiat’s ‘MANMADE’ tag - Basquiat’s alias after he took to the streets to declare “SAMO is Dead”. The work is further highlighted by Basquiat’s ‘BAD’ motif - uniquely paralleling his consideration to naming his band, ‘Bad Fools’ prior to Gray. In trademark Basquiat style, we also find the vertically spaced ‘E’ on both sides of the piece, as well as dashed lines which would appear in many of the artist’s Anti-Product cards, early drawings and more. The work emanates directly from the collection of world renowned author Lucy Sante (formerly Luc Sante). As it is well publicized, Basquiat worked with Sante in 1979/80 on the downtown-art scene publication, ‘Stranded’ (New York, 1980). Medium: Acrylic on cotton sweatshirt (double-sided artwork). Executed circa 1979/1980. Dimensions: 16.5 x 22 inches (outstretched cuff to cuff: 50 inches & sleeve length: 18 inches). Condition: In good overall vintage condition. Bright well-preserved colors; some minor discoloration in several areas due to normal age related wear and use; scattered stains located on the hem, inner arm area(s) and cuffs; scattered minor pilling; loose thread on the reverse of hem. Basquiat's artwork throughout remains fully intact. Unique. One of a kind. Signed ‘MANMADE’ and numbered 5/100 on the reverse. Provenance: Gifted by Basquiat to Lucy Sante; obtained directly from the former. Sante's relationship to Basquiat is well documented in three publications (see below literature/references for more). Accompanied by a letter of provenance from Sante. Literature/References: -'Boom for Real: The Late Teenage Years of Jean-Michel Basquiat,' by Sarah Driver - this 2018 documentary features an in-depth section devoted to Basquiat's 'Man Made' clothing, featuring an interview with designer Patricia Field & artist Kenny Scharf. - 'Basquiat Before Basquiat' (MCA Denver; see Sante, p.40-43 ). - 'Stranded' issue four index (Spring 1980). Basquiat's identity is confirmed as 'Man-Made' midway on page. - 'Zeitgeist: The Art Scene of Teenage Basquiat' (Howl Arts 2018; essay: 'Stranded' by Lucy Sante). - 'An Intimate Look at Jean-Michel Basquiat's Early Days' by Lucy Sante (Village Voice 2/8/17). -'Man Made by Basquiat' (MinnieMuse) May 2019. -'Exploring Jean-Michel Basquiat's 1970's Clothing Collection, 'Man Made.'' Vice Magazine, May 2019. - ‘The Jean-Michel Basquiat Reader’ (Moore pg. 334) discusses Basquiat’s Man Made painted clothing. - 'Basquiat Dancing at The Mudd Club' photograph by Nicholas Taylor of Gray (Basquiat wears a similarly painted sweatshirt). Basquiat’s use of ’MAN MADE', see: - Glenn O'Brien "Graffiti '80;" High Times, June 1980 (p. 53-54); "Jean-Michel Basquiat who is known to many as SAMO, had changed his alias to Man Made". - Jean-Michel Basquiat: 1981, the Studio of the Street (Diego Cortez; 2007 p. 80). - The Last Time I Saw Basquiat (NYR Daily 9/3/16; essay by Lucy Sante). - Basquiat: Boom For Real (Barbican; Nairne, Buchhart & Johnson p.26). - Sotheby's S2 Catalog & Sale, "Man Made" (May 2013). Intertextual References: Basquiat's 'BAD' motif further appears in the following 1979 works: - "Stupid Games, Bad Ideas" (color xerox; see Basquiat: Boom For Real pg. 108). - Basquiat (untitled) "Test Pattern" (original drawing and xerox; see Basquiat: Boom For Real pg. 147). - Basquiat (untitled) "Gumby Is Bad" t-shirt (worn on camera by the artist at Canal Zone...

Raymond Pettibon (untitled) Clock drawing 1995: Medium: ink and graphite on paper. 1995. Dimensions: 121⁄4 x 12 7/8 inches (31 x 33 cm.) Dimensions including frame: 16x16 inches. Very good overall vintage condition; floated in a wood glass frame. Hand signed and dated 'Raymond Pettibon 95' (on the reverse). Provenance: Private collection, acquired directly from the artist; Phillips, London 2014; Christie’s 2023. Raymond Pettibon emerged from Southern California DIY culture and its punk-rock sensibility, and his work still embraces a youthful edginess and sense of political engagement. Drawing from disparate cultural sources—which range from Marcel Proust and William Blake to the Bible—the artist makes cartoon-inspired ink drawings on paper which evoke the aesthetics of fanzines and concert flyers...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2019 Style: Figurative Art Title: Yarilo Size: 35.5" x...

Andy Warhol In the Bottom of My Garden c. 1956: A double-sided hand-colored lithograph from, Andy Warhol In the Bottom of My Garden (F. & S. IV.104A-105A). Executed by Warhol c...

Cindy Sherman Comme des Garcons postcard 1993: A rare advertisement/promotional card designed and (offset) illustrated by Cindy Sherman in conjunction with Comme des Garcons FW93. D...

Introducing "Polvo de Estrellas" by renowned Chilean artist Inti. This exquisite art print is a true masterpiece, limited to only 100 editions. Created with an 18-color lithograph, this print was produced at a historic print...

Andy Warhol Studies for a Boy Book 1956: A rare sought-after, 1950s Andy Warhol designed poster invitation published on the occasion of: Warhol's 'Studies for a Boy Book', held at the Bodley Gallery and Bookshop Feb. 14 - March 3, 1956. A rare early Warhol collectible that seldom comes to market. Not to be passed upon. Medium: Offset lithograph on wove paper. Framed in glass. Dimensions: 15.75 x 13.5 inches (40 x 34.3 cm). Framed dimensions: 24h x 26w inches. Good overall vintage condition; fold-lines as originally issued; Unsigned from an edition of unknown. Rare. With the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts Authorization ink-stamps on the reverse; initialed 'T.J.H.' by Timothy J. Hunt of the Andy Warhol Foundation and annotated 'XX-07.16' and 'PM19.0242' in pencil on the reverse. Provenance: The Andy Warhol Foundation for the Visual Arts, New York Susan Sheehan Gallery, New York Private Collection, New York Further Background: "In the 1950's Warhol self-published a large series of artist’s books & hold parties at Serendipity 3, a restaurant and ice cream parlor on Manhattan’s Upper East Side, where his friends would help him hand color his books. In 1956, he presented a solo exhibition at the Bodley Gallery called Studies for a Boy Book. These sketchbook drawings of portraits of young men and erotic portrayals of male nudes contrasted with the work of other contemporary gay artists, such as Robert Rauschenberg and Jasper Johns, who considered Warhol 'too swish.' (source: The Andy Warhol Museum) Collections: The Art Institute of Chicago Further background: Warhol’s career began as a commercial illustrator on New York’s Madison Avenue in 1949, during the massive post-war economic boom. His arrival additionally coincided with an extensive change in the motivations and strategies behind advertising, utilizing applied psychology to influence American consumers to purchase products. This stint as an ad man would further his Pop interest in cultural commercialization and start his artistic career; thus began the first chapter of Warhol’s oeuvre, dominated by charming and light-handed ink drawings. As a master of line and contour, Warhol’s consistent and unique drawings and designs piqued the interest of his clients, earning him commissions and collaborations with some of the biggest brands of the day: Tiffany & Co., Columbia Records, and Vogue, to name a few. Though stylistically different from the Pop, these early drawings offer a glimpse at an artist well on his way to establishing an art movement that would change the way the world conceived of contemporary art and its connection to pop culture, morphing from his early successes in the commercial art scene. The simple yet sophisticated line drawings contain... his favorite things: cherubs, shoes, cats, and often young men. Across these drawings and hand-colored prints, we see Warhol as a compulsive creator, documenting life and fantasy with the stark clarity of ink on paper." (source: Phillips) _ Obsessed with celebrity, consumer culture, and mechanical reproduction, Pop Art king, Andy Warhol created some of the 20th century’s most iconic images. Warhol was widely influenced by popular & consumer culture, with this being evident in some of his most famous works: 32 Campbell's soup cans, Brillo pad box sculptures, and portraits of Marilyn Monroe & Mick Jagger, for example. Rejecting the standard painting and sculpting modes of his era, Warhol embraced silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. The artist mentored Keith Haring and Jean-Michel Basquiat and continues to influence contemporary art around the world: His most bold successors include Richard Prince, Takashi Murakami, and Jeff Koons. Warhol has been the subject of exhibitions at the Whitney Museum of American Art, Museum of Modern Art, Tate Modern, and Centre Pompidou, among other institutions. Related Categories 1950s Andy Warhol. Vintage Andy Warhol. Mid century modern. Pop Art. Andy Warhol advertising...