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Exhibits
  • Andy Warhol Mick Jagger

    Rockstar Mick Jagger and Andy Warhol first collaborated in 1971 when Andy was commissioned for the cover of the Rolling Stones album “Sticky Fingers.” The only advice Mick Jagger offered is that complex designs can cause agonizing delays — advice the eccentric artist of course completely ignored.

    When the album came out, the sleeve featured an actual, working zipper — when you pulled it down, it revealed the model’s underwear. The elaborate design did end up causing some problems. When the albums were stacked together for shipping, the zipper pulls would scratch the record on top. Despite the zipper scratches, the artwork was a hit and played a role in the Stones’ path to superstardom.

    In 1975 Mick Jagger and his wife Bianca rented Andy Warhol’s house in Long Island and the three hung out. Planning his latest series, Warhol took some time out to shoot the head and bare-chested torso of the singer, focusing heavily on trying to capture the many different emotions of a stern-faced Jagger. These photos would later become the Mick Jagger screenprint portfolio.

    Andy Warhol once said of Mick Jagger: “He’s androgynous enough for almost anyone. That’s always been his basic appeal, mixed with the facts that: 1 – He’s very talented; 2 – He’s very intelligent; 3 – He’s very handsome; 4 – He’s very adorable. 5 – He’s a great business person; 6 – He’s a great movie star; 7- I like his fake cockney accent… Image is so important to rock stars. Mick Jagger is the rock star with the longest running image”

    Mick Jagger (1975) is an original screenprint on Arches Aquarelle paper from the portfolio Mick Jagger. The edition is 137/250 and hand signed by Andy Warhol. Mick Jagger is referenced in Feldman II.142. For more information about Mick Jagger or Andy Warhol please contact the gallery. Call for value

    • Pablo Picasso (after) Portraits Imaginaires

      Throughout an artist’s lifetime, changes in approach, subject matter, and even style are to be expected. However, the extent to which  Pablo Picasso’s style changed in each discipline—particularly, in painting—is unlike that of any other artist. 

      Characterized by dreamy depictions of figures with disorganized facial features, The Portrait Imaginaires portfolio is a combination of his African Masks period, Cubist period, and Surrealist period.

      The features twist and fold in a new way. It is as if the artist is trying to figure what will happen if he puts the pieces this or that way. Pablo Picasso said “The viewer sees a painting in parts; one fragment at a time: for example, the head, but not the body, if it is a portrait; or eyes, but not the nose or the mouth. Consequently, everything is always right”.

      The unique look of the Portrait Imaginaires began when art supplies arrived at Picasso’s studio and the shipping materials were placed on a wall. Looking at the large pieces of cardboard, Picasso saw potential canvases. At the age of 87 he created 29 abstracted portraits with gouache on cardboard. 

      Under Picasso’s supervision, master printmaker Marcel Salinas converted the paintings into lithographs. The process included Picasso correcting the designs before declaring them “bon a tirer” or “good to print.” After the final lithographs were completed, the plates were destroyed.

      Each plate is signed as it appeared in the original plate. The numbers on the top left corner refers to the date when the image was painted. For example, the piece 2.22.69 was painted February 2, 1969.  There is an American edition and a French edition, each limited to 250 impressions. The American edition contains the letter “A” before the numbering and the French edition includes the letter “F” after the numbering. 

      Portraits Imaginaires (1969) by Pablo Picasso (after) is an original lithograph and edition of A 115/250. Printed by Marcel Salinas and published by Harry N. Abrams, Inc. For more information about Pablo Picasso or Portraits Imaginaires, please contact the gallery. SOLD.

      • Jean-Michel Basquiat Untitled (Head)

        When he was just 7 years old,  Jean-Michel Basquiat was hit by a car while playing in the street. His injuries were so severe that he spent a month recovering in the hospital. To help him pass the time, his mother gave him a copy of Gray’s Anatomy, the famous medical textbook. The art historian Robert Farris Thompson, one of the only critics Basquiat trusted, wonders if the artist’s mother, by giving him this book of human anatomy, “had with affection commanded her son to study his body back together again.” 

        From the pages of this classic, Basquiat would forever be fascinated by the complex internal construction of the human body in contrast to the mundane outer appearance. Basquiat used social commentary in his paintings as a "springboard to deeper truths about the individual." Many of his figures allude to inner turmoil being released and shown outwardly to the world. He said “I don’t think about art when I’m working. I think about life."

        Writer and historian Aisha Sabatini Sloan writes “Many see Basquiat’s paintings and think only of his sad story, his illness. Not ours....But Basquiat whispered ‘Alchemy. Alchemy. Alchemy. Alchemy. Alchemy’ into his fractured diagrams of the body with what feels like sacred intention. He drew disembodied skulls next to torsos and surrounded them with music, prophecies, good tidings, and crowns, as if, upon his command, these disparate parts could dance back together again.”

        On May 18, 2017, the painting "Untitled (Head)" (1982) sold at a Sotheby's auction for $110.5 million. It became the most expensive painting by an American artist sold at auction and the sixth most expense work ever sold at auction. Only 10 other works have broken the $100 millon mark.

        Untitled (Head) is an original Screen print on paper from an edition of 85. Untitled (Head) is signed and dated by the executor of the estate to the verso ‘Gerard Basquiat 11-19-01”. For more information about Jean-Michel Basquiat or Untitled (Head) please contact the gallery. Call for Value

        • Roy Lichtenstein Mother and Child

          Mother and Child by Roy Lichtenstein is a rare original lithograph on paper from the early part of his art career. Roy Lichtenstein was interested in referencing art history tropes in a comical way. He mimicked subject matter like medieval knights, castles and maidens and 19th century depictions of Indians and Cowboys. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it.

          The figure of the Madonna and Child is one of the most easily recognizable, most frequently produced images in the history of art. Throughout the centuries the depiction of this trope  expanded to include all depictions of mothers tenderly holding their child. In comparison, Roy Lichtenstein’s version of Mother and Child feels ironic as the cubist figures stand rigidly next to each other, their featureless faces revealing nothing. 

          Knowing that Roy Lichtenstein's early work the of late 1940s and early 1950s poked fun of visual styles of the past shows that Roy Lichtenstein always had the same artistic sensibilities. It was in the 1960s that he stopped taking subject matter from the past, and started looking at what visual tropes he could comically imitate in the present. In the 1960s, this was commercial art, which was considered beneath contempt by the art world.

          “I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way.” Lichtenstein said.

          Mother and Child (1948) by Roy Lichtenstein is an original lithograph on paper. Mother and Child is fully referenced in Corlett 1. It is hand signed in pencil and is unnumbered. For more information about Roy Lichtenstein or Mother and Child please contact the gallery. Call for Value.

          • Icarus (Icare) & the Jazz portfolio by Henri Matisse

            Diagnosed with abdominal cancer in 1941, Henri Matisse underwent surgery that left him bedbound. Limited in mobility, he could no longer paint or sculpt. He began to consider further the possibilities that “painting with scissors” offered—an experiment that endured for the last decade of Matisse’s life.

            That same year, at the age of 74, Matisse began creating the portfolio Jazz. One of the fantastical imaginings to hail from this period, its twenty vivid stencil prints are based on images realized from various shapes cut out of gouache-painted sheets of paper and are accompanied by poetic notes expressing the artist’s thoughts and opinions. The subjects of these compositions range from circus performers and music halls to Matisse’s travel experiences.  

            Art publisher Tériade gave it the title Jazz, which Matisse liked because it suggested a connection between art and musical improvisation. The artist once said that “Jazz is rhythm and meaning.”

            Speaking about his illness and recovery Matisse said “I didn't expect to recover from my operation but since I did, I consider that I'm living on borrowed time. Every day that dawns is a gift to me and I take it in that way. I accept it gratefully without looking beyond it. I completely forget my physical suffering and all the unpleasantness of my present condition and I think only of the joy of seeing the sun rise once more and of being able to work a little bit, even under difficult conditions.”

            Icarus (Icarefrom the Jazz portfolio by Henri Matisse (1947) is an original pochoir and is the edition 164/250. The Jazz portfolio is referenced in Duthuit 22. Please contact the gallery for more information aboutIcarus (Icare), the Jazz portfolio, or about Henri Matisse. Call For Value