Framed More Prints

BARBIER, George Le Bonheur du Jour ou les Graces à la Mode, texte et dessins par George Barbier. Chez Meyniel, Paris, 1924. Group of six lithographs, hand-...

Le Chasseur Fortune Engraving framed Bez.: C. Van Falenz pinixit // Jac. Ph. Le Bas Sculp. // a Paris chez Le Bas graveur du Cabinet du Roy au bas de la rue de la Harpe...

Edition of 500 Hand-signed by artist, Signed and numbered in pencil Muhammad Ali, the groundbreaking athlete and sociopolitical figure of the twentieth century, is remembered less ...

Patrick Rubinstein is a French contemporary artist, born in 1960 in Paris. He belongs to the movement of Op Art and Kinetic art. He is the inventor of the movement Kinetic Pop Art,...

Duke of Wellington by Vladislav Khristenko Size of the image - 25 x 15 cm Size of the list - 34 x 22.5 cm Size in frame - 42 x 32 cm Etching and aquatint on paper #15 from edition ...

Framed "Distil" original lithograph vintage poster by Achille Luciano Mauzan. Printed under license from Mauzan's estate in the 1990s.

The painting is being offered with a work and authenticity certificate

A multi-color print featuring the legendary Jimmy's junkyard entrance. The neighborhood junk yard located on Buffalo Ave in Freeport has been around since 1930s and was acquired by i...

This lithograph signed by F.G Silva shows a colorful combination of a bull and a butterfly referring to the ideas of strength and delicacy. The late Franco Gregori Silva was born in Cignone-Cremona...

Artist: Joan Miro Title: Plate 9 Portfolio: Peintures sur Cartons Medium: Lithograph Date: 1965 Edition: Unnumbered Frame Size: 21 1/4” x 17 1/4” Sheet Size: 15” x 11” Image Size: 15...

Print Sz: 11"H x 7 1/2"W Frame Sz: 22 5/8"H x 15 3/4"W w/ burlwood frame Clan MacNeil, also known in Scotland as Clan Niall, is a highland Scottish clan. According to their early ...

Emile Benard (French, 1844-1929), Beaux Arts Interior, Architectural Rendering, Etching, signed in ink "Emile Benard / Architect" lower right, wood frame. Image: 33" H x 24" W; frame...

Intervals 3: Blue/ Green, 2021 Bridget Riley Screenprint in colours, on wove Signed, titled, dated and numbered from the edition of 75 Printed by Artizan Editions, Forest of Dean Sh...

PABLO PICASSO Spanish, 1881 - 1973 La petite bacchanale (B. 1020; Ba. 1250) signed in pencil "Picasso" (lower left) numbered in pencil "1/50" (lower right) linocut in colors on Arche...

"Performing Arts Center" lithograph of dancers and musicians by R. B. (Ronald Brooks) Kitaj from the "New York, New York" portfolio published by the New York Graphic Society. Signed ...

Serigraph, signed and numbered in pencil Edition of 500 From a set of five prints that Muhammad Ali published in 1979, including Let My People Go, which was commissioned by the Wor...

A captivating 19th-century botanical engraving depicting Chirita walkeria, a delicate flowering plant named in honor of Anna Maria Walker, a noted naturalist. This hand-colored print...

Kjell Otterness Pens Yellow water based woodcut print. Designated number 3 of 3 in pencil lower left corner recto. Initialed "KO" in pencil lower right corner recto.

This print is an abstract black and white etching that was created by Yoko Yamamoto. Artist Biography: Yoko Yamamoto is a Japanese Asian Modern & Contemporary artist who was born i...

Claes Oldenburg and Coosje van Bruggen "School Bus Yellow, Adirondack Green, A Film by Coosje van Bruggen", 1982 Poster 33 x 23 inches Signed Poster by Cla...

Represented by George Billis Gallery, NYC & LA --This is a limited edition print of Heller's original painting "Butterfly Roof and Inner Tube." Edition of 75. Print dimension 17 x 24...

Artist: Joan Miro Title: Plate 4 Portfolio: Peintures sur Cartons Medium: Lithograph Date: 1965 Edition: Unnumbered Frame Size: 21 1/4” x 17 1/4” Sheet Size: 15” x 11” Image Size: 15...

Offset lithograph and screenprint in colours, 1969, from the edition of 700, printed by G & B Arts Ltd., London, published by Arts Council of Great Britain for the Hayward Gallery, L...

Artist: Raphael Soyer Title: Seamstress 1 Portfolio Medium: 2 Lithographs, 1 printed in color & 1 black/white Original paper portfolio cover Signed: Hand Signed Edition: From the ed...

Artist: Peter Keefer Title: Castle Rock Medium: Serigraph Signed: Hand Signed top right corner Edition: Edition of C top left corner Measurements: 30"...

"The Word (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The pri...

Love (Red, Yellow, Blue), 1996 Signed, dated, and numbered Screenprints in colours on A.N.W. Crestwood Museum Edition paper 26 x 20 inches Edition 59 of 200

A striking 19th-century botanical engraving depicting Ipomoea horsfalliae, also known as Lady Doorly’s Morning Glory. This exquisite floral illustration is attributed to the renowned...

Each flower is made using the photographic process called cyanotype. Using watercolor paper, each petal was drawn, cut and coated by hand. Each flower is made using between 12-30 pet...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

In 1967, General Idea was founded in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant cont...

'Superman' by DJ Leon, 2020. 40 x 27 in. A dye-sublimation print on aluminum that is saturated in colors of reds and blues. The print incorporates, appropriates, and combines found i...

54.9 x 56.5 cms (21.6 x 22.25 ins) Edition of 50 Paper: Somerset paper Signature:Signed "RM" in pencil lower right Inscriptions:Numbered in pencil lower right Proofs:20 AP, number...

Robert Rauschenberg is revered as one of the most innovative American pop artists - more avant-garde than Warhol, more audacious than Jasper Johns. In addition to his artistic achie...

Vintage sheet for the musical score, Black Cupid's Birthday: March- Two Step by Seneca G. Lewis Published 1898 w/ 3 Ivy League School Pennants Image Sz...

Kew Gardens, from London Parks by Julian Trevelyan, 1969-70 Additional information: Medium: etching and aquatint (unframed) 58.5 x 77 cm 23 1/8 x 30 1/4 in signed, titled and number...

Rush, from IAA by Michael Rothenstein, 1975 Additional information: Medium: photo-screenprint and stencil on J Green paper (unframed) 26 3/4 x 18 7/8 in 68 x 48 cm signed and number...

Contemporary digitally reprinted collage by Florence Alfano McEwin. Watercolor digitally reprinted two plate photo intaglio with collage and chine collé of found, painted, torn, cut...

Charming detailed lithographs published by Draeger, Paris 1947 for the perfume house Bienaimé. Printed in colours and highlighted in gold and silver on embo...

Charming detailed lithographs published by Draeger, Paris 1947 for the perfume house Bienaimé. Printed in colours and highlighted in gold and silver on embossed paper...

Hugh Turvey is a British artist and photographer who uses x-ray technology to create what he calls Xograms, a fusion of visible light and x-ray imagery. Hugh trained as a designer /...

Original silkscreen poster by Robert Indiana for Kunstmarkt Köln 1967. Kunstmarkt Köln, established in 1967 in Cologne, Germany, was the first contemporary art fair, revolutionizin...

Abbey Gilbert is a photographer based in New York City. As she navigates through her personal exploration of lesbian sexual chemistry, Abbey Gilbert examines the ambiguous space betw...

66 x 94 cms (26 x 37 ins) Edition of 20 Rives BFK paper Proofs: I BAT, 4 AP, 7 CTP, 9 XP Signed lower left; numbered lower left; publisher's chop lower left. Published by Tama...

In contemporary art's diverse and infinitely complex world, many works serve as vehicles for thoughts, statements, and emotions. SHAO QI, a Chinese artist born in 1987 in Shanghai, blends political, cultural, and aesthetic elements in her lithographic work titled "I am Mexican." This piece, limited to fifty copies and numbered 21/50 in pencil, dated 2011, transcends the materiality of art to explore societal palimpsests and interrogate notions of identity and globalization. The dynamic confrontation of colors, particularly the dichotomy of red and black, is essential. The radiant luminescence of red contrasts sharply with the ultimate absorption of black, framing the piece in a colorimetric standoff reminiscent of vintage propaganda posters. Red, the color of revolution and power, passion and vitality, mingles with black, the shade of shadow and void, embodying the potential for new beginnings, as French artist William Klein once proclaimed. SHAO QI employs a stylistic language that is instilled with almost raw expressiveness. The bold black strokes outlining the figure are reminiscent of Shepard Fairey's work under the OBEY signature. These black lines convey a vibrancy and primal force akin to Russian constructivist posters...

Peter Son's Magazine -February, 1869. Print Sz: 9 3/8"H x 5 7/8"W Frame Sz: 13 3/4"H x 10 1/2"W w/ yellow mat & hunter green wood frame

Patrick Heron 1920-1999 Untitled, from Rothko Memorial Portfolio, 1972 screenprint 68.8 x 91.2 cm 27 1/8 x 35 7/8 in signed and numbered in pencil, edition of 75 Published in 1973 b...

Found throughout his collection of work, Jasper Johns’s use of numbers is a common motif employed by the artist. While all of the prints in this series were produced from one lithogr...

Thoreau "If a Man Does Not Keep Peace" Sister Mary Corita Kent (American, 1918-1986) Signed in Pencil Lower Right 22.5 x 22.5 inches 23.25 x 23.25 inches with frame Sister Mary Cori...

Leo Baeck and a Spirit is Characterized Sister Mary Corita Kent (American, 1918-1986) Signed Lower Right in Pencil Edition of 250 Lower center 21.5 x 21.5 inches 24 x 24 inches frame...

Offset lithograph of the design for the "And then all that divided them merged” banner that was used to promote Judy Chicago's iconic work "The Dinner Party" which featured 39 intric...

This work of art is a lithograph on paper featuring abstract geometric shapes in primary colors.

Spectrum By. Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 158/180 Lower Left Unframed: 27" x 33.5" Framed: 36.5" x 43" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Emerging, 1985 By. Yaacov Agam ( Israeli, b. 1928) Color Serigraph Signed Lower Right Edition 1/12 Lower Left Unframed: 25" x 31" Framed: 34" x 43" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Curtain By. Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 221/227 Unframed: 18" x 22.5" Framed: 30.5" x 34.5" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Blue Rings (Abstract Composition), Serigraph By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 8/270 Lower Left Unframed: 21" x 21.5" Framed: 31" ...

Abstract Purple, Blue, Greens (Serigraph) By Yaacov Agam (Israeli, b. 1928) Signed Lower Right Edition 4/30 Lower Left Unframed: 14" x 33" Framed: 21" x 41" Yaacov Agam is one of the pioneer creators of the kinetic movement in art as well as its most outstanding contemporary representative. Agam was born in 1928 a son of a Rabbi of Rishon LeZion (Israel), who devoted his life to the study of Jewish religious matters and wrote books. Agam considers himself somehow as a visual continuation of his father's quest for spirituality. He studied at the Bezalel Academy of Art in Jerusalem, and in Switzerland at the Eidgenossische Technische Hochschule and the Zurich University. After arriving to Paris in 1951, Agam held his first one man exhibition with a great success in 1953 This exhibition consisted totally of kinetic, movable and transformable paintings, which actually was the first one-man show in art history exclusively devoted to kinetic art. A passionate experimenter, Agam deals with such problems as the 4th dimension, simultaneity and time in the visual, plastic arts, and has extended his experiments to application in the fields of literature, music and art theory. His works express a concept that breaks away with the established way of expressing reality in limited, static way. In his works, he strives to demonstrate the principle of reality as a continuous "becoming" rather than static "graven image." His paintings Double Metamorphosis 11 in the Museum of Modern Art in New York and Transparent Rhythms 11 in the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, D.C. give the best example of his polymorphic painting. His works are placed in many public places including Communication x 9 on the Michigan Avenue in Chicago (1983), Communication: Night and Day at the AT&T building in New York (1974), Super Lines Volumes at the Pare Floral in Paris (1971), and his murals Peace and Life arc installed at the Parliament of Europe in Strasbourg (1977). Agam has expressed the new concepts in monumental works as in his Jacob's Ladder, which forms the ceiling of the National Convention House in Jerusalem. He created a "floating museum", including all the artworks for public areas and cabins, for the Carnival Cruise Line's luxury cruise ship "Celebration" (1987). His fire-water fountain in Dizengoff Square in Tel Aviv (1986) streams water, fire, and music -elements of flux and life which cannot be static - as its colored elements rotate in this multidimensional monumental work. For the Elysee Palace in Paris, with the request of President Georges Pompidou Agam created in 1972 a whole environmental of the Salon with the walls covered with polymorphic murals of changing images a kinetic ceiling, moving transparent colored doors and a kinetic carpet on which he placed a sculpture. It embraces viewers: they are no longer looking at a framed, fixed scene, but rather arc moving within an artistic space which changes constantly according to their shifting position and point of view. Similar attempt was made for the concert hall, Forum Leverkusen in Germany in 1970. Agam created many environmental sculptures, including Hundred Gates in the garden of the residence of the President of Israel in Jerusalem, 3 x 3 Interplay installed at the Julliard School of Music at the Lincoln Center and Wings of the Heart at J. F. Kennedy airport in New York. In 1984, he made a sculpture Beating Heart for the Hadassah Hospital in Jerusalem. In 1988, he created a transparent torah ark...

Colossal Flashlight in Place of Hoover Dam, 1982 By Claes Oldenburg (Swedish, American, 1929-2022) Signed Lower Right Dated Middle Right Unframed: 23" x 22" Framed: 36.5" x 27.5" Whimsical sculpture of pop culture objects, many of them large and out-of-doors, is the signature work of Swedish-born Claes Oldenburg who became one of America's leading Pop Artists. He was born in Stockholm, Sweden. His father was a diplomat, and during Claes' childhood moved his family from Stockholm to a variety of locations including Chicago where the father was general consul of Sweden and where Oldenburg spent most of his childhood. He attended the Latin School of Chicago, and then Yale University where he studied literature and art history, graduating in 1950, the same year Claes became an American citizen. Returning to Chicago, he enrolled at the Art Institute of Chicago from 1952 to 1954 and also worked as a reporter at the City News Bureau. He opened his own studio, and in 1953, some of his satirical drawings were included in his first group show at the Club St. Elmo, Chicago. He also painted at the Oxbow School of Painting in Michigan. In 1956, he moved to New York where he drew and painted while working as a clerk in the art libraries of Cooper-Union Museum for the Arts of Decoration. Selling his first artworks during this time, he earned 25 dollars for five pieces. Oldenburg became friends with numerous artists including Jim Dine, Red Grooms and Allan Kaprow, who with his "Happenings" was especially influential on Oldenburg's interest in environmental art. Another growing interest was soft sculpture, and in 1957, he created a piece later titled Sausage, a free-hanging woman's stocking stuffed with newspaper. In 1959, he had his first one-man show, held at the Judson Gallery at Washington Square. He exhibited wood and newspaper sculpture and painted papier-mache objects. Some viewers of the exhibit commented how refreshing Oldenburg's pieces were in contrast to the Abstract Expressionism, a style which much dominated the art world. During this time, he was influenced by the whimsical work of French artist, Bernard Buffet, and he experimented with materials and images of the junk-filled streets of New York. In 1960, Oldenburg created his first Pop-Art Environments and Happenings in a mock store full of plaster objects. He also did Performances with a cast of colleagues including artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer. His first wife (1960-1970) Pat Muschinski, who sewed many of his early soft sculptures, was a constant performer in his Happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store," a month-long installation he had first presented at the Martha Jackson Gallery in New York. This installation was stocked with sculptures roughly in the form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York I could think of". That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. From the early 1970s Oldenburg concentrated almost exclusively on public commissions. Between 1969 and 1977 Oldenburg had been in a relationship with Hannah Wilke, feminist artist, but in 1977 he married Coosje van Bruggen, a Dutch-American writer and art historian who became collaborator with him on his artwork. He had met her in 1970, when she curated an exhibition for him at the Stedelijk Museum in Amsterdam. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen's. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser...

Fodder by John Costigan (1888-1972) Signed Lower Right Titled Lower Left 9.75" x 12.75" Unframed 17.5" x 19.75" Framed John Edwards Costigan was born in Providence, Rhode Island on ...

"Observador de Pajaros" 1950 By. Rufino Tamayo (Mexican, 1899-1991) Edition 83/200 Lower Right Signed Lower Left Unframed: 15.5" x 22.5" Framed: 21.75" x 28.25" Rufino Tamayo (August 26, 1899- June 24, 1991) A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria...