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  • Andy Warhol Marilyn

    Andy Warhol understood the allure of global celebrity and its effects on contemporary society long before gossip blogs were even a thing. Through his distinctive style of work, Warhol referred to a society in which individuals were seen as mere products rather than human beings. 

    Soon after her tragic death in 1962,  Andy Warhol made a series paying tribute to  Marilyn Monroe, the film star and sex symbol who had captured America’s imagination. The prints of Marilyn Monroe are some of the most iconic images Andy Warhol ever made. By relying on his signature screen-printing techniques to scribble over the iconic features of famous faces, Warhol was responsible for making these celebrities even more popular even in death. 

    Just as Warhol’s fetishistic use of consumer-produced packaging is often the source of many debates and discussions, so was his obsessive rendering of famous women. Some view the Marilyn Monroe Screenprints as frank expressions of his sorrow at public events. Others view them as some of the first expressions of 'compassion fatigue' - the way the public loses the ability to sympathize with events from which they feel removed. This mystery fuels the continued intense interest with both Marilyn Monroe and Andy Warhol as celebrities.

    Marilyn (1967) is an original screenprint on paper from the portfolio Marilyn Monroe (Marilyn). The edition is hand signed in ballpoint pen and numbered via stamp verso by Warhol and referenced in Feldman 68, II.30. For more information about Marilyn or Andy Warhol please contact the gallery. Call for Value.


    • An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D

      An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D by Takashi Murakami both nod to the 20th century French artist Yves Klein. The more you compare the two artists the more fascinating the connections become. Decades separated their practices as Takashi Murakami was born the same year that Yves Klain died, but both were leading artistic figures in post-war European art and post-war Japanese art, respectively. It is clear why Takashi Murakami also saw a connection between him and Yves Klein.

      Yves Klein was known for his flat monochromes of blue and gold that were seen as an inspiration to and as a forerunner of minimal art, as well as pop art. Takashi Murakami blended his training in traditional Japanese painting with Japanese pop culture references to create his iconic “Superflat” style.

      Further, both figures flowed between their relationships between western and Japanese culture, a topic that fascinated Takashi Murakami. Yves Klein traveled to Japan and became the first European to become a black belt in Judo. Takashi Murakami explains “for those of us born in Asia, it remains an ever-important question. The reason is that what we today define as Art represents the path followed by Western art history, and yet here in the East, we have our own history. To survive as artists, we must learn to resolve the collision of these two cultures. My own personal position is drawn from how well I can arrange the unique flowers of Asia, moreover the ever strange blossoms that have bloomed in the madness of the defeated culture of postwar Japan, into work that will live within the confines of Western art history.”

      An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D (2012) by Takashi Murakami are each an offset print with cold stamp. An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D are editions of 300 and hand signed and numbered. For more information about An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D or Takashi Murakami, please contact the gallery. Call for value.

      • Roy Lichtenstein Bull V

        While developing the series Bull Profile, Roy Lichtenstein studied photographs in a 1970 cattle sales catalog. The Bull Profile begins with a bull created with crosshatch strokes that gives it depth reminiscent of classic forms of printmaking. The most “abstract” of this series uses nothing but a few lines to create the cow.

        The name Bull Profile is directly quoting Pablo Picasso’s lithographic series “The Bull” in which bovines are incrementally rendered abstract. Picasso always said he identified with the Bull as a symbol of masculine power and virility. The first clue that Roy Lichtenstein intended this series to be a parody is his choice to render domesticated cattle that lack muscle and large horns.

        Roy Lichtenstein is dismissing the primary art theory in the 20th century that truth would be found in abstracting an image down to its simplest form. Lichtenstein sarcastically explores this idea by calling into question the presumed distinction between “realistic” and “abstract” depictions. Bull V is in the tradition of Rene Magritte’s piece The Treachery of Images, that poses that all visual representations are abstractions. “The series pretends to be didactic; I’m giving you abstraction lessons. But nothing is more abstract than anything else to me. The first one is abstract; they're all abstract.” Lichtenstein said.

        Bull V by Roy Lichtenstein is a Linocut on Arjomari paper. This piece is from the Bull profile portfolio and is referenced in Corlett 116. Bull V is hand signed in pencil. For more information on Bull V, Roy Lichtenstein, or the entire Bull Profile portfolio please contact the gallery. SOLD.

        • Marc Chagall Green Tree with Lovers

          Unlike other artists of the 20th century, Marc Chagall never belonged to any artistic movement. Marc Chagall’s dreamlike and fantastic atmospheres were conceived only by what he loved more than anything else: his hometown, his wife Bella and music.

          ‘I left my native land in 1910. At that moment I decided that I needed Paris. I came because I sought the light of Paris, its freedom, its refinement and the skills of the craft. Paris lit up my shadowy world like the sun... I did not forget the country where I was born. On the contrary. I saw it more clearly.’ The style and subject of the original lithograph  Green Tree with Lovers reflects the artist’s lifelong connection with folk traditions, particularly those of his Russian Jewish Heritage.

          In the modern city of Paris, he was often nostalgic for his homeland where the farm represented the center of life. The inclusion of animals in Chagall’s paintings often alludes to memories of his childhood, particularly visits to his uncle’s farm where the creatures all had names and were considered part of the family. This may have influenced Chagall’s anthropomorphic treatment of domestic animals in his art and in this lithogeaph where the cow holds out a bouquet of flowers for the lovers.

          “When I am finishing a picture, I hold some God-made object up to it — a rock, a flower, the branch of a tree or my hand — as a final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it’s a bad art,” he said of his artistic process.

          Green Tree with Lovers (1980) by Marc Chagall is an original lithograph. Green Tree with Lovers is referenced in Mourlot 959 and is signed in pencil. Green Tree with Lovers is an edition of 34/50. For more information about Marc Chagall or Green Tree with Lovers, please contact the gallery. $3,995 framed

          • Pablo Picasso (after) Bacchanale

            Bacchanale was created during a period of great contentment in Pablo Picasso’s life. In the summer of 1955 he moved to La Californie, a great fin-de-siècle villa in the hills above Cannes, with his new partner Jacqueline Roque, a woman forty-five years his junior who inspired a fresh phase of creative productivity in the artist. 

            Saturated with the Mediterranean sun and the pleasures it brought with it—the bullfights, the beach, and the intense warmth and light—in the mid 1950s Pablo Picasso renewed an earlier interest in some of the classical motifs that he associated with the region—particularly the theme of the Bacchanale. He once remarked, "It is strange, in Paris I never draw fauns, centaurs, or mythical heroes . . . they always seem to live in these parts.” 

            Bacchanale may include a subtle self portrait. The thoughtful, and fully clothed, male figure on the right is particularly amusing because he possesses an uncanny resemblance to the infamous creator of this work, Pablo Picasso himself. Clad in a horizontal stripped shirt, the favorite sailing attire of Picasso, this mysterious figure possesses a playful and simultaneously mysterious personality. 

            Bacchanale (1959) by Pablo Picasso (after) is an original etching and aquatint. Bacchanale is an edition of 9/300 with a Crommelynck stamp. Bacchanale is hand signed in pencil. For more information about Pablo Picasso or Bacchanale, please contact the gallery. $14,995 framed.