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  • Joan Miro Le Presidente

    Born during the Catalan independence movement, Joan Miro was instilled with a deep-rooted sense of the possibilities of liberty. In a 1936 interview, with the Spanish civil war a looming reality, he spoke of the need to "resist all societies... if the aim is to impose their demands on us". The word "freedom has meaning for me," he said, "and I will defend it at any cost.” He expressed his support for Catalan independence in 1938 via the Serie Noire Et Rouge (The Black and Red Series).

    For the rest of his life, Miro experienced the political turbulence of Europe during the 20th century. Miro's instinct for political engagement, though heartfelt and full of risk, often lay in these gestures of withdrawal, of self-defence. As he was escaping the occupation of France, he snuck the new Constellations Portfolio under his arm as he caught the last train to Spain. The portfolio was secretly mailed to America and inspired what would become Abstract Expressionism.

    The return to Spain however, was not an escape from danger. Francisco Franco reigned as dictator of the country from 1939-1975. With the student uprising in Paris in 1968, Miro hoped to bring more of the spirit of rebellion home. At the age of 75 he hurled his paint at the canvas as a shared act of defiance. This original lithograph Le Presidente  is a continuation of Miro’s subtle fight for freedom. The connection between these events lay in the title. “Le” is French while “Presidente” is Spanish. The expressive and energetic scribbled lines add a new sense of urgency to Miro’s signature symbols and colors. 

    Le Presidente by Joan Miro is an original lithograph created in 1970. Le Presidente is signed in pencil and is an edition of 53 of 75. For more information about Joan Miró or Le Presidente, please contact the gallery. $8,995 framed.

    • Andy Warhol Sitting Bull

      Andy Warhol created Sitting Bull and the Cowboys and Indians portfolio in 1986. This suite is one of Warhol's last works, created just one year before his death in 1987. Cowboys and Indians is often included in retrospective exhibitions that trace the evolution of Warhol’s career from his breakthrough Campbell’s Soup through his final portfolios. 

      Although by the late 1960s the sanctity of the Western hero as an allegory for the heroism of America was eroding, that hero still manifested itself in the attitudes of a generation of young men who grew up watching Westerns. The Cowboys and Indians portfolio features well-known figures: John Wayne and Teddy Roosevelt -- who are not so much "cowboys" as American heroes, as well as less familiar images of Native Americans.

      Sitting Bull is based on a archival photo of the famous warrior and Sioux Chief. Originally conceived as part of the portfolio Cowboys and Indians, Sitting Bull was not included in the last minute and replaced with Geranimo. That doesn’t prevent this original screenprint from being a favorite of Warhol’s prints and portrayals of Native Americans. Sitting Bull forces us to question our notions of the "hero" and "heroine" of the American West and to ponder their relationship to the voiceless heroes of our Native American past.

      Sitting Bull (1986) is an original screenprint on Lenox Museum Board and is referenced in Feldman IIIA.70. Sitting Bull is from the regular edition, which is unsigned and unnumbered. It is stamped by the Andy Warhol Art Authentication Board and the Estate of Andy Warhol on the verso. It relates to Sitting Bull from the trail proof prints. For more information about Andy Warhol or Sitting Bull please contact the gallery. $34,995 unframed.

      • Joan Miro Cantic del Sol, Plate 10

        Although the works of Joan Miró appear spontaneous and free, they were really the product of disciplined intensity. Miró remembered himself as "a very poor student...quiet, rather taciturn, and a dreamer." But he approached his after-hours drawing classes as if they were a religious ceremony. "The implements were like sacred objects, and I worked as though I were performing a religious rite,” he said.

        It is often said that one can feel the sensations of his art, its tremulous lines and rustling forms, vibrations, and pulses. And sometimes one hears its bright melodies and quizzical cacophonies in the same painting. Landscapes become weightless, figures and forms are like skywriting, suffused with color and light. The material world recedes, the poetry floats free as air.

        While living in Paris, Miro was introduced to modern and classic masterpieces of poetry. Miro described being “carried away by the new ideas they brought and especially the poetry they discussed.” The Cantic del Sol portfolio draws inspiration from a 13th-century poem of the same name. Written by St. Francis of Assisi in the final year of his life, it's an elemental work on such things as the sun, moon, stars, wind, and rain — long favorite subjects for Miró. The spiritual poem is believed to be among the first works of literature, if not the first, written in the Italian language.

        Cantic del Sol is an original etching and aquatint portfolio created in 1975. The portfolio and is fully referenced in Dupin 846. Cantic del Sol is an edition of 250. For more information about Joan Miró or the Cantic del Sol portfolio, please contact the gallery. SOLD.


        • Salvador Dali Imaginations and Objects of the Future Melting Space-Time

          Melting Space-Time from the Imaginations and Objects of the Future portfolio features Salvador Dali’s most iconic image of the melting clock. It was often thought that the clocks had drawn inspiration from Einstein’s theory of relativity, discussing fluidity of space and time. Others suggested the melting structure of the clocks convey time’s irrelevance in the dream world, as such sequences are remembered typically only as memories. Enlightening as the theoretical applications may appear to the surrealist masterpiece, the artist attributed his creation of the melting clocks to a stroke of inspiration achieved while staring into a thick section of runny, melting Camembert cheese. Some say this answer was just the artist being comical, however there may be some seriousness to it.

          This discrepancy between theory and explanation is characteristic of Dali’s public persona. He loved creating sensation, comedy, and not to mention controversy. Dalí’s antics, however, often obscured the genius.

          Salvador Dali was enthralled with the psychoanalytic theories of Sigmund Freud and the then-current ideas of the French Surrealists—artists such as Jean Arp, René Magritte and Max Ernst. Dalí was well acquainted with Freud’s ideas about sexual repression taking the form of dreams and delusions, and he was fascinated with the Surrealists’ attempts to capture these dreams in paint.

          In addition to Freudian imagery—staircases, keys, dripping candles and clocks—he also used a host of his own symbols, which had special, usually sexual, significance to him alone: the grasshoppers that once tormented him, ants and crutches. When Dalí finally met Freud in London in 1938 and started to sketch him, the 82-year-old psychoanalyst whispered to others in the room, “That boy looks like a fanatic.” The remark, repeated to Dalí, delighted him.

          This original lithograph on Arches paper, Melting Space-Time (1975) is signed in pencil and referenced in Field 75-11G. Melting Space-Time is the edition 46/250. For more information about Salvador Dali, or the Imaginations and Objects of the Future portfolio please contact the gallery. $29,995 complete profolio.

          • Georges Braque Août

            Western painting was changed forever when  Georges Braque was introduced to Pablo Picasso in 1907. Braque once said working together for over 6 years was like "being roped together on a mountain." Their inquiry of how to convey a three-dimensional object in a two-dimensional image, and the differences between reality and representation, led to the birth of Cubism. Henri Matisse gave their Cubist movement its name after seeing one of Braque's paintings and sniping, "What are these little cubes?” 

            Wounded in the head and temporarily blinded during World War I, Braque retreated into himself. From then on his interest was in deepening and expanding the discoveries of Cubism. In the 1930s, Braque used birds repeatedly to discus the way art changes the nature of things from real, functional objects into theories and representations. The symbolic birds remind the viewer that what they are seeing is not real, almost as a mantra is used in meditation.

            Braque’s birds became iconic; a symbol of peace, hope and even perseverance in the aftermath of World War II. Duncan Phillips, founder of the Phillips Collection in Washington, DC, was so enamored with a 1956 Braque bird that he asked the artist permission to use it as the logo for his museum. The resulting sculpture, commissioned from Pierre Bourdelle, still soars on the façade of the building and graces the museum’s visitor tags.

            The original aquatint Août by Georges Braque is hand signed in pencil. Août is referenced in Vallier 135 and is an edition of 44 of 70. For more information about Août or Georges Braque please contact the gallery. SOLD.