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Exhibits
  • Marc Chagall David and Absalom

    Marc Chagall hated being called a “mystic,” and yet, he argued in 1946, “Without a mystical element is there a single great picture, a single great poem or even a single great social movement?" In an age when science reigned — even as a way of thinking about art, particularly with regard to vision and technology — and God had been declared dead by philosophers, Chagall was regularly painting rabbis, crucifixions and other Judeo-Christian subjects.

    The etching David and Absalom depicts David, King of Israel at the throne with his son Absalom. According to the Hebrew Bible, Absalom spent 3 years in hiding for avenenging his sister with the murder of his brother, Amnon. After another 2 years, David finally permitted his son to appear before him. Absalom considered himself the heir to the throne, for now that Amnon was dead, he was the next in line of succession. David, however, had been prophetically informed that his young son Solomon, the son of Bathsheba, would succeed him.

    Absalom rallied the people of Jerusalem and led a revolt against David, but was quickly killed. When David heard that Absalom was killed he greatly sorrowed. "O my son Absalom, my son, my son Absalom! Would God I had died for thee, O Absalom, my son, my son!"

    David and Absalom from the The Bible Etchings is an original etching with watercolor on Arches wove. David and Absalom is fully referenced in Cramer 30, signed “M.CH.” in pencil and is number 62 out of an edition 100. For more information about Marc Chagall or David and Absalom please contact the gallery. Call For Value.

    • Roy Lichtenstein Storming the Castle

      Storming the Castle is a beautiful etching, aquatint and engraving from the earliest period of Roy Lichtenstein’s career. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. In addition to strictly two-dimensional paintings, Lichtenstein began nurturing what would become a long-standing interest in using three-dimensional assemblages of kings and horses made of wood, metal, and found objects.

      In this piece, the early 20th century Cubist and surrealist influence of artists like Pablo Picasso, Georges Braque and Jacques Villon can be seen in the abstract and primitive form of the figures. The dynamic mark making points to influences of Abstract Expressionists such as Helen Frankenthaler, Frank Stella, and Paul Jenkins. However, the influences of Abstract Expressionism on Roy Lichtenstien begin and end at asethetic. Abstract Expressionism was at its height during Lichtenstein's early career and believed artists should explore the subconscious for the truth. Lichtenstein always worked with subject matter and was more interested in art history, figures and other symbols of American idenitity.

      The whimsey and playfulness that is present in all of Lichtenstein's works is seen in the absurdity of the figure riding a horse that resembles a wooden rocking horse toy. This print was produced and printed by the artist while a graduate student and then an instructor at Ohio State University, Columbus. 

       Storming the Castle by Roy Lichtenstein is an original etching, aquatint and engraving. Storming the Castle is fully referenced in Corlett 8, hand signed in pencil and is number 3 out of an edition 10 (first state). For more information about Roy Lichtenstein or Storming the Castle please contact the gallery. Call For Value.

      • Tom Wesselmann House and Barn in the Distance

        Tom Wesselmann's iconic and often provocative work had a profound impact upon the development of American Pop Art. Wesselmann gained recognition after taking part in the New Realist show, the first group exhibition featuring Pop artists. The Sidney Janis Gallery held the New Realists exhibition in November 1962, which included works by the American artists Jim Dine, Robert Indiana, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, and Andy Warhol.

        However, Wesselmann never liked his inclusion in American Pop Art, pointing out how he made an aesthetic use of everyday objects and not a criticism of them as consumer objects. Throughout his career Wesselmann focused on classical art themes such as the female nude and landscapes. As seen in House and Barn in the Distance, Wesselmann reinterpreted these using his own distinctive visual language, characterized by a reductive line, bold, flat primary colors and often the inclusion of symbols of American culture and patriotism. 

        Wesselmann's focus on classical subject matter demonstrates his fondness for a European painting tradition, but has the energy of modern and lighthearted American Art. Wesselmann said “I can’t talk about Matisse without talking about myself. He is the painter I most idolized and I still do.”

        House and Barn in the Distance by Tom Wesselmann is an original screenprint on Arches 88 paper. House and Barn in the Distance is hand signed and is an edition of 72 out of 100. For more information about Tom Wesselmann screenprints or House and Barn in the Distance please contact the gallery. $6,000 framed.

        • Damien Hirst Mickey (blue glitter)

          Damien Hirst first began to work with the image of Mickey Mouse in 2009, at the invitation of Walt Disney Studios. Hirst created a Mickey that reimagines the iconic character with Hirst’s famous dots. “It’s using simple means to capture the very essence of [Mickey's] form solely through the power of colour. I love that the imagery is so powerful that it only takes twelve different coloured dots to create something so instantly recognisable,” said Hirst. The artist follows in the footsteps of Andy Warhol, Roy Lichtenstein and Claes Oldenburg, who have all painted the iconic mouse during their careers.

          “The thing about Mickey is that even though he’s gone through so many shifts in form and association, he’s timeless. In a way he means the same in the 21st century as he did decades ago. I watched the cartoons as a kid, and my kids watch them too. He’s relevant because he’s remained so culturally ingrained and he still just looks so great. The way children are entertained today has obviously changed dramatically, but kids are still kids, and love the same things.”

          The original painting of Mickey Mouse was sold for nearly 1 million dollars in February 2014, all of which went to the charity Kids Company. Hirst has been very financially supportive of Kids Company, who provides art therapy programs for inner city kids in poverty. He has a close relationship with the charity’s creator, who regularly reaches out to him for donations, volunteering and to share inspirational stories. Like the teenager who was inspired by his famous skull piece For the Love of God and created his own art using skulls as a way to talk about all the hard things he has been through. Hirst said “I'm aware that I make things for people to hook on to and connect to, but it's vague in my mind, so when you hear about a specific which is definite and somebody connects to it…"

          Mickey (blue glitter) by Damien Hirst is an original screenprint with encrusted glitter. Mickey (blue glitter) is signed on the back and is an edition of 67 out of 150. For more information about Damien Hirst screenprints or Mickey (blue glitter) please contact the gallery. SOLD. 

          • Salvador Dali St. George and the Dragon

            St. George and the Dragon by Salvador Dali is an original etching on J. Whitman wove paper.  The classic interpretation of the "St. George and the Dragon" legend is commonly seen as the saint's battle against heresy and evil. St. George being the guardian angel of Aragon and a celebrated saint of chivalry throughout medieval Europe.

            In the Georgian narrative, a town's small lake was infested with a plague-bearing dragon who was poisoning the countryside. To appease the dragon, the people fed it two sheep every day. When they ran out of sheep they started feeding it their children, chosen by lottery. One time the lot fell on the king's daughter. The king, in his grief, told the people they could have all his gold and silver and half of his kingdom if his daughter were spared; the people refused. The daughter was sent out to the lake, dressed as a bride, to be fed to the dragon.

            Saint George by chance rode past the lake. The princess tried to send him away, but he vowed to remain. The dragon emerged from the lake and Saint George charged it on horseback, seriously wounding it with his lance. He then called to the princess to throw him her girdle, and he put it around the dragon's neck. When she did so, the dragon followed the girl like a meek beast on a leash. The princess and Saint George led the dragon back to the city, where it terrified the populace. Saint George offered to kill the dragon if they consented to become Christians and be baptised. Fifteen thousand men including the king converted to Christianity. George then killed the dragon. The king built a church to the Blessed Virgin Mary and Saint George on the site where the dragon died and a spring flowed from its altar with water that cured all disease.

            In this original etching, St. George is gallantly riding his horse as he strikes the dragon down with his lance. The beautiful line work and cross hatch detail of St. George and the Dragon  makes this etching an impressive sight. St. George and the Dragon is hand signed in pencil, referenced in Field 47-1, and is an edition of 250. For more information about Salvador Dali or St. George and the Dragon please contact the gallery. SOLD.