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Exhibits
  • Pablo Picasso After the Lance

    The artist’s passion for bulls began during his childhood. One of Picasso’s earliest paintings, “Le Petit Picador” is of a mounted picador in the bullring. “It was a remarkably accomplished painting given Picasso had barely turned eight when he made it,” Picasso’s friend and biographer Sir John Richardson said. The little oil sketch is prophetic, for along with the other themes of performance which fascinated Picasso – acrobats and clowns, ballet and theatre – the bullfight was to appear at critical points in his life.

    Sir John Richardson regularly attended bullfights with the artist. Richardson recalled that Picasso rarely said much during the fights. They would be surrounded by “screaming and clapping and cheering and Picasso just sat there, absolutely still, not making any sound but just taking it all in. Occasionally he would make a remark.”

    This original linocut, After the Lance tells the valiant story of Spanish bullfighting but is created in the visual style of a Greek vase telling an epic myth. After the Lance embodies the merging of Picasso's explorations of mythology and the minotaur with his own symbolism of brutality, virility and nobility of the fight between the toreador and the bull.

    After the Lance is an original linocut on Arches paper referenced in Bloch 910. After the Lance is hand signed in pencil and is an edition of 37 out of 50. For more information about Pablo Picasso or After the Lance please contact the gallery. Call for Value.

    • Andy Warhol Unique Dollar Sign

      "I like money on the wall. Say you were going to buy a…painting. I think you should take that money, tie it up, and hang it on the wall. Then when someone visited you, the first thing they would see is the money on the wall."

       Andy Warhol

      Nothing intrigued Warhol more than money. He was one of the first modern artists to say that money itself is beautiful and is art. The Dollar Signs are among Warhol's most powerful and essential images, perhaps equal to the historic Campbell's Soup Cans of 1968, in their brash reinvention of what is allowed in a work of art. 

      Before Andy Warhol decided to leave the commercial art world in favor of the fine art world, he'd built a successful New York career in advertising. His experience in the commercial arts, such as his specialty in illustrating women’s shoes, greatly continued to influence his art. What Warhol brought to the conversation in the early 1950’s was his astute observation of what made the postwar American new-wealth appetite tick. And he had absolutely no problems about feeding that appetite, because it was his appetite too. He loved glamour, fame, money, brands, and media as much as the next American. 

      Dollar Sign (1981) is a unique screenprint. It is dedicated and hand signed “To Beth Love Andy Warhol” in felt pen on verso. Dollar Sign is a unique proof printed on thin paper before the printing on Lenox Museum Board. For more information about Andy Warhol or Dollar Signs please contact the gallery. Call For Value.

      • Andy Warhol Cow


        In the early 60’s, Andy Warhol declared “painting is dead.” Next, he became fascinated with printmaking as a way to make art in the modern world. The first image he created with this new  process was of the late actress Marilyn Monroe. From then on, Warhol continued to explore a wide array of subject matter through printmaking. 

        The inspiration for Cow came from art dealer Ivan Karp. In his memoir Popism: The Warhol Sixties, Warhol recalled “Another time [Karp] said, 'Why don't you paint some cows, they're so wonderfully pastoral and such a durable image in the history of the arts.' (Ivan talked like this.)”

        Warhol immediately grasped his spin on the outdated subject matter and exclaimed, “New cows! Fresh cows!”

        Warhol wrote, “I don't know how 'pastoral' he expected me to make them, but when he saw the huge cow heads, that I was going to have made into rolls of wallpaper, he was shocked. But after a moment he exploded with: 'They're super-pastoral! They're ridiculous! They're blazingly bright and vulgar!' I mean, he loved those cows and for my next show we papered all the walls in the gallery with them.”

        Cow (1971) is an original screenprint on wallpaper and is referenced in Feldman II.11A. Cow is hand signed by Andy Warhol in felt pen and is an edition of 100. For more information about Andy Warhol or Cow please contact the gallery. $19,995 framed.

        • Joan Miro (after) L'oiseau migrateur (The Migratory Bird), Plate XVIII

          Hailed as one of Joan Miró’s greatest achievements— if not the greatest,  L'oiseau migrateur (The Migratory Bird), Plate XVIII and the entire Constellations portfolio reveal Miró’s signature spatial execution and exploration of the cosmic universe. For inspiration and escape from the war, Joan Miró studied astral maps which were like representations of cosmic space. “I felt a deep desire to flee. I shut myself deliberately. The night, music and the stars began to play a role in my painting,” Said Miró.

          In 1945 the Constellations were smuggled out of Europe by diplomatic pouch for an exhibition in New York. The series was hailed as the first artistic message to arrive from Europe since the fall of France. Miró wrote that the show “should not be considered as a simple artistic event, but an act of human import,” because these paintings were “realized during this terrible time when the fascists wanted to deny all spiritual values and to destroy all that man holds precious and worthy in life.”

          John Punyet, grandson of the artist, said “The Constellations are a sublime break. They are the way to the power. Towards the universe. They are a door to escape from a circumstantial war, from a genocide, from the brutality of nonsense. The Constellations are like saying: my only salvation in this world tragedy is the spirit, the soul that leads me to heaven. That brings me to the sublime. It is as if Miró was a nocturnal bird able to escape from the earth, leaving the sky, traveling across the sky, the stars, to the constellations, to capture them all with one hand, and draw back to earth them on a sheet of paper.”

          L'oiseau migrateur (The Migratory Bird), Plate XVIII is from the portfolio Constellations: A Suite of Twenty-Two Pochoirs. This original pochoir and is referenced in Cramer No. 58. Le passage du l'oiseau divin (The Passage of the Divine Bird), Plate XXII is signed and numbered on the justification page and is an edition of 104/350. For more information about Joan Miró (after) or L'oiseau migrateur (The Migratory Bird), Plate XVIII please contact the gallery. $4,500.

          • Alexander Calder Vertical Flags

            Alexander Calder devoted his career to expressing movement’s beauty. The lithograph  Vertical Flags demonstrates his ideas about movement and the relationships of objects within what he called the system of the universe. “If you can imagine a thing, conjure it up in space—then you can make it, and tout de suite you’re a realist. The universe is real but you can’t see it. You have to imagine it. Once you imagine it, you can be realistic about reproducing it.”

            Easygoing and practical-minded, Calder was one of the few American visual artists who established himself in 1920s Paris, an era legendary for its aesthetic ferment that produced modern artists as exemplified by Pablo Picasso and Joan Miró. A visit in late 1930 to the studio of Piet Mondrian, a Dutch painter known for his geometric abstraction, gave Calder the “shock”—to use the description recorded in his 1966 autobiography—that sent him toward abstract art.

            The forms he primarily used in his abstract paintings were circles, spheres and discs. Calder said that these universal shapes “represent more than what they just are.” A unique language of shapes resembling triangles, anvils and boomerangs developed and became a part of his most iconic artworks. He referred to those shapes as spheres, or just “spheres of a different shape.” He rounded them and gave them a sense of dynamism, as if in transition. 

            Vertical Flags by Alexander Calder is an original lithograph. Vertical Flags is edition EA outside the numbered edition of 100 and is hand signed in pencil. For more information about Alexander Calder, or if you would like to purchase Vertical Flags, please contact the gallery. SOLD.