Joan Miró

Affiche Pour L'Exhibition Peintres sur Papier Dessins

1971

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...

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...

Leo Baeck and a Spirit is Characterized Sister Mary Corita Kent (American, 1918-1986) Signed Lower Right in Pencil Edition of 250 Lower center 21.5 x 21.5 inches 24 x 24 inches frame...

Thoreau "If a Man Does Not Keep Peace" Sister Mary Corita Kent (American, 1918-1986) Signed in Pencil Lower Right 22.5 x 22.5 inches 23.25 x 23.25 inches with frame Sister Mary Cori...

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....

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 ce...

These wonderful lithographs from the imagination of the Glasgow artist Robert Colquhoun are full of colour and dynamism. Robert Colquhoun (1914-1962) Poems of Sleep and dream Three ...

These wonderful lithographs from the imagination of the Glasgow artist Robert Colquhoun are full of colour and dynamism. Robert Colquhoun (1914-1962) Poems of Sleep and dream Three ...

"Tree in Ranchitos II" (New Mexico) is a lithograph initialed lower right by artist Andrew Michael Dasburg (1887-1979) from 1975. Presented in a custom frame measuring 30 ½ x 36 ¼ inches. Image size is 16 ½ x 23 ¼ inches. About the Artist: Born France, 1887 Died New Mexico, 1979 Andrew Dasburg was born in Paris, but emigrated to New York City in 1892 with his mother. A childhood sickness left him lame, and his artistic propensities were first recognized by a teacher at the crippled children’s school. She enrolled him in the Art Students League in 1902. There he studied under Kenyon Cox, Frank Vincent Dumond, and Birge Harrison. Later, he began taking night classes from Robert Henri at the New York School of Art. Dasburg spent 1908-1910 in Paris, where he was introduced to the great impressionist painters Matisse and Cezanne. Inspired by the work of the European modernists, Dasburg returned to the United States, where he moved to Woodstock, New York. In Woodstock, he and his wife, Grace Mott Johnson, lived with Morgan Russell...

"Henry S. Miller" Lithograph in Ink on Paper, #3 of 8 Surrealist lithograph by Stephen Tracy White (American, 1947-2005). A figure in the lower right corner is partially enclosed by a red rectangle. Biomorphic shapes are flowing out of the rectangle, stretching across the composition. The shapes are rendered with intricate linework and soft green shading. Numbered, titled, signed, and dated along the bottom: 3/8 Henry S. Miller S. Tracy White 1969/April Tag on verso from Lee Nordness Galleries, New York Presented in a silver aluminum frame. Shipped without glass. Frame size: 26.5"H x 36.25"W Image size: 23.5"H x 34.25"W Stephen Tracy White (American, 1947-2005) was born in Bronwood, Georgia. They studied at the University of New Mexico, earning a Bachelor of Fine Arts in Art in 1969. They worked at the Tamarind Lithography Workshop, printing pieces by William Crutchfield...

Alexander Liberman, hand signed and inscribed by both Alexander Liberman and Barbara Rose, and accompanied by a separate hand signed note, 1981 Hardback monograph (hand signed and inscribed by Alexander Liberman as well as art historian Barbara Rose), plus accompanied by a separate handwritten card signed by Liberman in the original envelope Warmly signed and inscribed on the monograph and card by Alexander Liberman and hand signed by Barbara Rose on the first front end page 13 1/4 × 12 1/4 × 1 3/4 inches A unique and memorable gift for any collector or fan of the sculptor Alexander Liberman! This lavishly illustrated hardback monograph with dust jacket is warmly signed and inscribed on the first front end page by both Alexander Liberman and the author, art historian, Barbara Rose, and it is accompanied by a separate handwritten card, signed by Alexander Liberman and held in the original envelope. (see photos). The book and card was inscribed to Jack Haber, the Editor-in-Chief of the magazine Gentlemen's Quarterly (GQ) from 1969 to 1983. GQ was owned by Conde Nast, and Alexander Liberman, who worked for Conde Nast for 32 years, was the Editorial Director from 1962-1983. Sadly, Jack Haber would die in 1984 at the age of 45 - one of the first casualties of the AIDS crisis, which was devastating to the art and publishing industries. Inscription on the monograph reads: To Jack Haber with warm friendship Alexander Liberman Inscription on the card reads: Dear Jack [Merry Christmas and a Happy New Year] with warm friendship Alex Book information: Publisher: Abbeville Press, 1981. Hardcover. Bound in publisher's original white cloth with spine and front cover stamped in black. Full color illustrations throughout, including several color foldouts. 392 pages. About Alexander Liberman: Considered a revolutionary Minimalist artist, Alexander Liberman produced works that predated the movement by more than a decade. Liberman, not wanting to limit himself to any one form of expression, worked to produce radically minimalist paintings and sculpture in order to illuminate his beliefs about celestial motion, the movement of the eye, as well as human sexuality. The artist’s fascination with American industrialization and modernization ultimately resulted in his widely known red steel sculptures and geometric paintings, which seem to decompose the turbulence of the time period. Alexander Liberman was born in 1912 in Kiev, Russia. He studied first in London and then in Paris. He took courses in philosophy and mathematics at the Sorbonne and architecture at L’École des Beaux-Arts in Paris. Liberman has had numerous solo exhibitions at museums such as the Jewish Museum, New York (1966); Storm King Art Center, Mountainville, NY (1970); and the Corcoran Gallery of Art, Washington, DC (1970). His sculpture and paintings are included in the museum collections of the Art Institute, Chicago; the Museum of Fine Arts, Houston; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Hirshhorn Museum & Sculpture Garden, Washington, DC; the Tate Gallery, London and many others. Additionally his public sculpture can be seen in over 40 cities around the world including Honolulu, Los Angeles, Miami, New Haven, New York, Oklahoma City and Philadelphia. Alexander Liberman died in November of 1999 at the age of 87. - Courtesy of Mitchell-Innes & Nass About Barbara Rose: Barbara Ellen Rose (June 11, 1936 – December 25, 2020) was an American art historian, art critic, curator and college professor. Rose's criticism focused on 20th-century American art, particularly minimalism and abstract expressionism, as well as Spanish art. "ABC Art...

Signed lower left, 'Roger Bezombes' (French, 1913-1994) and titled, 'Poisson bleu' with number and limitation, lower right, '25/150'. Roger Bezombes first attended the Ècole des Beaux-Arts (1934) and was the recipient of numerous prizes, medals and juried awards including the Grand Prix de Rome...