Ilya Bolotowsky - Four Framed Works of Art

Red Tondo, 1979; Serigraph on BFK Rives Paper; Signed Ilya Bolotowsky in pencil lower right and numbered 16/225 in pencil lower left; Framed with an acid free mat, black wood exterior frame, and UV conservation clear glass.

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Ilya Bolotowsky was born to Jewish parents in St. Petersburg, Russia on July 1, 1907.  He was mentored by the famous Dutch painter Piet Mondrian who had created the art movement neoplasticism; a belief in the possibility of ideal order in the visual arts.  Bolotowsky was quick to adopt Mondrian's use of horizontal and vertical geometric pattern as well as his use of primary colors supported by neutrals.  He immigrated to the US and settled in New York in 1923.  He was one of the first artists to work in hard edge geometric abstraction and he also taught at the famed Black Mountain College from 1946 to 1948.  One of his most famous students was Kenneth Noland.

Yellow Square, 1979; Serigraph on BFK Rives Paper; Signed Ilya Bolotowsky in pencil lower right and numbered 16/225 in pencil lower left; Framed with an acid free mat, black wood exterior frame, and UV conservation clear glass.

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Ilya Bolotowsky is a very good artist for a number of reasons.  His choice and use of color is exceptional.  Light values of colors are chosen very specifically, and the juxtaposition of one color to another creates very powerful effects; that cause the eyes of the viewer to move about the art in a very specific way.  Structure is also critical with geometric patterns as the work can fall very quickly unless it is balanced and controlled, not just with color but with form.  Bolotowsky focuses on the use of primary colors red, blue and yellow and their varying light values.  White and black are critical to the compositions because of the need for symmetry; and the use of thick or thin in order to achieve compartmentalization of color fields.  He also has a wonderful skill of harmonization of his works through the use of soft neutrals.  The resulting compositions are absolutely breathtaking, and they integrate into any environment.  

Blue Diamond, 1979; Serigraph on BFK Rives Paper; Signed Ilya Bolotowsky in pencil lower right and numbered 16/225 in pencil lower left; Framed with an acid free mat, black wood exterior frame, and UV conservation clear glass.

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When I was showing art several years ago at the Palm Beach Art Fair, I had with me a wonderful work by Bolotowsky.  A gentleman came into my booth and pointed to the Bolotowsky and said, "Ilya Bolotowsky, I knew him when he lived in New York.  When I was younger I used to deliver vodka to him in his apartment building.  It was one of those old buildings with the elevator that, once you entered or exited, you had to pull the large metal door behind you.  I was forever reaching Ilya's apartment and finding that he had left his elevator door open, and I told him 'Ilya, you are going to get drunk one day and fall down this elevator shaft if you do not remember to close this door!'  Well, that is exactly how he died."

Pink Diamond, 1979; Serigraph on BFK Rives Paper; Signed Ilya Bolotowsky in pencil lower right and numbered 16/225 in pencil lower left; Framed with an acid free mat, black wood exterior frame, and UV conservation clear glass.

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A recent well reported news report occurred here in North Carolina.  A Bolotowsky painting bought at a North Carolina Goodwill store for only $9.99 was eventually auctioned at Sotheby's in September 2012 for $34,375!

#Bolotowsky #IlyaBolotowsky #colorfield #KennethNoland #BlackMountain #PietMondrian #untitledartgallery

Kenneth Noland - Coach Bag With Circle Painting

Coach Tote Bag With Circle Painting 1977, 2002; Serigraph on canvas Coach bag; Stamp signed, dated, and numbered Kenneth Noland 1977, No. 303/500 lower left; Published by Coach Inc.; Framed using an acid-free linen liner, a black wood fillet, and a black wood frame; Size: Image 11 1/2" x 11 1/2"; Bag 15" x 15" x 1"; Frame 20 1/4" x 20 1/4"

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In October of 1952 Helen Frankenthaler, after a trip to Nova Scotia, had a breakthrough with a painting entitled "Mountains and Sea."  The painting was abstract and rather than painting the landscape that she saw on her trip, the work portrayed the experience itself.  The abstract image was painted using a "soak stain" technique, whereby unprimed canvas duct is painted using oil paint that had been heavily thinned with turpentine.  The effects of the technique reinforced the abstract nature of the landscape painting; and when the artists Kenneth Noland and Morris Louis saw it in her studio in New York, their own painting styles were forever changed.

On the train ride back to Washington DC, Noland and Louis realized that Frankenthaler's painting was their key to finding their own paths.  Each made the decision to disregard all his own prior work and begin fresh.  Noland stated, "We were interested in Pollock but could gain no lead from him.  He was too personal.  But Frankenthaler showed us a way - a way to think about and use color."  Morris Louis found is structure for his color field paintings first with the unfurl series; and soon after Kennth Noland found his, with the circle paintings.  "I knew what a circle could do.  Both eyes focus on it.  It stamps itself out, like a dot.  This, in turn, causes on's vision to spread, as in a mandala in Tantric art," Kenneth Noland.

Close up of the signature, date, and edition number.

The circle paintings in the 1960's were Noland's first color format; but would be followed over the years by chevrons, strips, plaids, and irregular paintin series.  Noland would return to these early formats in the 1990's using opaque and bold acrylics, however the soak stain technique from the 1960's are by far his greatest achievement.

Unframed limited edition Kenneth Noland Coach Bag with Circle Painting.

This very rare serigraph on canvas tote bag (15 х 15 х 1 in. (38.1 x 38.1 x 2.54 cm.) is stamped with Kenneth Noland's signature and date, 1977, and the limited edition of 500 is individually stamped on the front.  The work was created in 2002 in an edition of 500, and published by Coach, Inc.  The painting used by Noland was created by him in 1977 using his wonderful soak stain technique, and because Coach used this painting to make the bag in 2002; the work is given double dates in the description.  The painting is a wonderful circle painting, with a dark brown center target, an unpainted circle composed of unpainted canvas, followed by a rich purple, then another unpainted canvas circle.  The outer circle is a classic construct by Noland; such that, the inner aspect of the circle is incomplete, and it's format is maintained by a thin line.  The entire composition of the work allows for a brilliant color balanced by form interaction!

Framed limited edition Kenneth Noland Coach Bag with Circle Painting.

#Noland #KennethNoland #colorfield #circlepainting #Coach #handbag #untitledartgallery

César - "L' Empreinte Digitale," 1991 - White Porcelain Serving Platter

L' Empreinte Digitale, 1991; Limoges by Bernardaud Porcelain; Stamped signature and finger print on underside of oval shaped platter "L' Empreinte Digitale de CESAR 1991 pour Artes Magnus "César" Bernardaud Limoges France"; Numbered 15B/200; Published by Artes Magnus; Includes Original Box; Size: Platter: 12 1/4 x 16 1/2 x 1 1/4"

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César Baldaccini, who was born in France and went by simply by name César, was most famous for being a sculptor.  His early work used soldered, welded metal, as well as found and junk materials; and by 1960 César was considered one of France's leading sculptors.  In the same year, on a visit to a scrap merchant, he saw a hydraulic crushing machine in operation.  This was to have an enormous impact on the rest of his career, as he decided to integrate it in with his sculpture.  At a Paris exhibition he showed three crushed cars; and it was for what he called his 'Compressions' that César was to became most renowned.  He selected particular cars for crushing based on form and color; and he could control the surface pattern and colour scheme of each finished piece.

Later he would join the Nouveaux Réalistes (New Realists), a group of artists interested in "new ways of perceiving the real."  This group of artists which included Arman, Klein, Raysse, Tinguely, Pierre Restany and others; was interested in new ways in which to create art, and in the process subvert the status quo.  Their inspiration could be found in urban life.  César was at the forefront of the Nouveau Réalisme movement; with his radical compressions of compacted automobiles, discarded metal, and/or rubbish.  In 1965 he started to work with plastic moulds of human imprints.  He quickly followed in 1966 by pouring expanded polyurethane, which was allowed to expand and solidify (he called these works his 'Expansions').  By 1966 he had stopped making welded-metal sculpture, and instead began to  organize a series of 'Happenings.'  He would later create sculptures made out of molten crystal.

The imprint work began in 1965 would become a staple of César's repertoire.  He would utilize the concept of compression as applied to a finger or thumb print.  He continued this theme by also creating a series of sculptures of his own thumb.  This particular work is a white oval platter designed by César and made in Limoges by Bernardaud. The composition shows an enlarged imprint of the artist's signature thumb print which has been transferred onto the porcelain with all the grooves and undulations.  Because of the white color of the porcelain, the shadows caused by the raised imprint create a beautiful three-dimensional sculptural object.

Verso of the platter showing the stamped signature and finger print "L' Empreinte Digitale de CESAR 1991 pour Artes Magnus "César" Bernardaud Limoges France", edition number, and Artes Magnus stamp.

#César #cesar #CésarBaldaccini #CesarBaldaccini #artesmagnus #bernardaud #NouveauxRéalistes #NewRealists #newrealism #Limoges #popart #untitledartgallery

Tom Wesselmann - "Still Life," 1988 - Ceramic Limited Edition from Rosenthal

Still Life,1988; Ceramic multiple in colors; Mounted to the support (as issued); Signed Tom Wesselmann in the plate lower right; Numbered 186/299 on the Rosenthal plaque verso; Published by Rosenthal, Germany; Original woodbox with the title label (with tape and adhesive remains on wooden box); Size: Tile 13 1/4" x 14 3/4"; Overall with support 18 3/4" x 20"

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Tom Wesselmann was one of the great Pop Art artists to emerge during the 1960's.  He is most known for paintings, prints, collage, and sculpture whose subject matter focused on the female nude or the still life.  The Great American Nude Series was started in 1961 and the next year Wesselmann was already involved in his still lifes.  Regarding what objects to choose to include, Wesselmann stated, “Not just the differences between what they were, but the aura each had with it... A painted pack of cigarettes next to a painted apple wasn’t enough for me. They are both the same kind of thing. But if one is from a cigarette ad and the other a painted apple, they are two different realities and they trade on each other... This kind of relationship helps establish a momentum throughout the picture... At first glance, my pictures seem well behaved, as if – that is a still life, O.K. But these things have such crazy give-and-take that I feel they get really very wild”.

Close up of the signature, lower right.

Back of the work showing the inset hangers, which make hanging the work very easy, as well as the incised Rosenthal plaque.

This work by Tom Wesselmann, "Still Life," 1988 is wonderfully balanced composition.  The focus of the work is a white bowl of brilliantly colored fruit, with a framed female portrait off to the left; both set on a blue table.  To the right is a single red apple followed by a wonderful clear vase of pink flowers; the green leaves of which can be seen through the glass.  Above and behind the objects on the table are a pair of identical blue and white tiles depicting leaves; an obvious reference to the fact that this particular work is a large porcelain tile.  The construction of the work is not only perfectly composed for both form and color; but highlighted with the use of the line, masterfully executed by Wesselmann's enormous technical skill.  His draftsmanship can not be ignored, and this "Still Life" is a wonderful example Wesselmann at his best!

Close up of the Rosenthal Plaque showing the edition number.

Wall Hanging in the foam lined original box.

#Wesselmann #TomWesselmann #popart #Rosenthal #stilllife #untitledartgallery #wallhanging #fruitbowl

Jonathan Seliger - "Fête Galante," 2004 - Trompe L'oeil Of A "Dandy" Cake Cones Box

Fête Galante, 2004; stenciled pulp painting and silkscreen on double layer of handmade cotton/abaca and pigmented cotton paper with cotton paper tape; 3-D Sculpture; Signed Seliger, dated 2004, and numbered 21/30 in pencil on bottom; Published by Dieu Donné; Size: 17" x 13" x 6 3/4"

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Jonathan Seliger is known for his meticulous reproductions/interpretations of mass produced objects, with particular attention paid to everyday packing containers.  His artistic use of language is apparent in the titles he choses for his works, and he draws inspiration from mundane and disposable pop imagery of every day life.  He takes the Hermes bags from Fifth Avenue and food container boxes from the shelves of the local grocery store and places them together, in the realm of high art.  "Dandy" cake cones is a mass produced, shelf life limited, box of ice cream cones that Seliger had very specifically and with great attention to detail managed to photorealistically create.  Through this process he has now created the three dimensional work "Fête Galante," 2004; and has now escalated a box of ice cream cones into high art.

According to Wikipedia, "Fête galante (French pronunciation: ​[fɛːt ɡalɑ̃t]) (courtship party) is a term referring to a category of painting specially created by the French Academy in 1717 to describe Antoine Watteau's (1684–1721) variations on the theme of the fête champêtre which featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland settings."  Jonathan Seliger's choice of title for this work demonstrates his use and love of language.  By referring back to painting of the 16th century, he gives the work historical context by conveying an artistic lineage for this work.

Photograph of the bottom of the work showing the pencil signature, date, and edition size.

Seliger's creation of a trompe l'oeil version of a "Dandy" cake cones box was not a simple and easy task.  The work is composed of stenciled pulp painting and silkscreen, onto a double layer of handmade cotton/abaca and pigmented cotton paper, and with cotton paper tape.  This is a wonderful piece of photorealism sculpture, completed in an edition of only 30!

#JonathanSeliger #Seliger #dandycakecones #DieuDonnePapermill #popart #trompeloeil #sculpture #photorealism #untitledartgallery

Arman - "Demie Tasse - Blue," 1990 Limoges Porcelain Tea Set With Boxes

Demie Tasse - Blue, 1990; Limoges Porcelain; Stamped signature and number to underside of each multiple element "Artes Magnus "Demi Tasse" Arman 105B/175 Fait a la main Limoges France"; Published by Artes Magnus; 21 - Piece breakfast service includes: Tea Pot (9½ x 9 x 4"), Creamer (7 x 5 x 2½"), Sugar Bowl, 6 Cups & 6 Saucers (Cup 2 x 4 x 2½"), and 6 Side Plates (1 x 9"); Includes All Original Boxes.

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New Realism was an art movement that started in France in 1960 with Pierre Restany writing it's original manifesto which proclaimed: "Nouvea Realisme - new ways of perceiving the real."  This group of artists was interested in new ways in which to create art, and in the process subvert the status quo.  The artist Arman was one of the original founding members and he was known for his "accumulations" and for his destruction/recomposition of ordinary objects.  Objects were transformed by slicing, smashing, or burning them in order to further activate the form and therefore present them in an entirely new state. 

Merriam-Webster Dictionary defines demitasse as ": a small amount of black coffee that is served in a small cup; also : the cup used to serve it."  In French the term literally means "half cup."  With this work Arman has taken the literal meaning and made a true half cup, which is keeping with one of his main working styles; slicing objects in half to transform them.  Not only was the cup cut in half, but all the individual tea set pieces including the tea pot, creamer, sugar bowl, side plates, and the saucers for the cups.  Arman made two variants of the "Demie Tasse," 1990 tea set; one was all white and the other had the cut side painted blue.  It is this blue variant (lettered B after the edition number) that I consider to be the superior work; as it accentuates the cuts made to each of the twenty-one serving pieces.  This tea set is not just a beautiful sculpture, but a usable tea set!

Underside of the tea cup (all individual pieces share the same stamps) with Artes Magnus stamp, title, Arman signature, edition number, and maker stamp.

#Arman #demietasse #teaset #nouvearealisme #newrealism #ArtesMagnus #Limoges #popart #untitledartgallery

Jonathan Seliger - "Fresh," 2001 - A Trompe L'oeil Sculpture Of A Table Talk Pie

Fresh, 2001; Mixed media sculpture; A trompe l'oeil version of a "Table Talk" pie; Numbered 7/75, signed Seliger and dated 2001 in pencil on the box under-flap; 3-D sculpture; Published by Dieu Donne Papermill Inc.; Size - Box: 5 1/4 x 4 1/4" x 1 1/2"; Pie in tin: 4" diameter by 1" high

To purchase this work or to visit the Art Gallery, CLICK HERE

Jonathan Seliger is known for his meticulous reproductions/interpretations of mass produced objects, with particular attention paid to everyday packing containers.  Seliger's artistic use of language is apparent in the titles he choses for his works, and he draws inspiration from mundane and disposable pop imagery of every day life.  He takes the Hermes bags from Fifth Avenue and the Table Talk boxes from the shelves of the local grocery store and places them together in the realm of high art.  This piece, a mass produced, shelf life limited small pie; has been cleverly titled "Fresh".

Close up of the number, signature, and the date.

"Fresh," is a trompe l'oeil version of a "Table Talk" pie and is an edition from Dieu Donne Papermill Inc.  Numbered 7/75, signed Seliger and dated 2001 in pencil on the box under-flap.  The list of materials that have been used to create this work is impressive:

Box: silkscreen on glass-dried cotton linter paper, mylar window, Gudy-O adhesive.

Pie: 2nd cut cotton linters, burnt siena pigment, methyl cellulose, Jade glue, gloss acrylic medium.

Tin: pigmented cotton rag paper, Jade glue, aluminum powder, methyl cellulose, spray varnish.  Sticker: silkscreen on cotton rag/cotton linter combination paper.

Taking liberties both in design and color, Seliger worked cut and paste style from an original "Table Talk" box.  The time and resources need to create this limited edition is impressive, and below is the description of the process used to create "Fresh," 2001:

The mocked up package design was laid out in Photoshop, shot and printed as a 4-color silkscreen on a smooth, glass-dried cotton linter paper and over-printed with a transparent, flat layer for sheen.  The boxes were hand-cut and assembled with Gudy-o, double-face, archival adhesive.  The pie was cast into a 2-part hydrocal plaster mold that was painted with a mixture of burnt siena pigment and methl cellulose to lend a burnt look.  The doughy colored pulp was cast into the mold and sponged by hand.  When dry, the two-part cast was assembled with Jade glue and painted with the same mixture of pigment and methyl cellulose and finished off with a gloss acrylic medium coat on the top of the pie.  For the "aluminum" tins, freshly-pressed, silver pigmented cotton rag sheets were cast into aluminum tin forms, covered with cotton cloth and weighted down with sand to minimize shrinkage and maximized detail.  When dry, the paper was cut off the tin, and edges were trimmed and glued with Jade glue on the underside.  A mixture of aluminum powder and methyl cellulose was then painted onto each "tin" and finished with 2 coats of spray varnish.  Finally the pies were placed in "aluminum" tins and fit into assembled boxes.

Individual items photographed as a group.

#JonathanSeliger #Seliger #TableTalk #TableTalkpie #DieuDonnePapermill #popart #trompeloeil #sculpture #photorealism #untitledartgallery

Larry Poons - Four Framed Works of Art

Untitled - Black; Serigraph on paper; c. 1975; Signed in pencil lower right and numbered 31/100 in pencil lower left; Framed with a white linen liner, black wood frame, and UV conservation glass.

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Larry Poons is an abstract artist who was born in Tokyo, Japan on October 1, 1937.  He lives and works in the United States, with the majority of his career centered in Boston or New York.  His rise to fame occurred when he painted a series of paintings composed of circles and/or ovals placed on brilliantly colored canvas grounds.  The structure of the circles/ovals on these paintings was extremely well thought out.  This was accomplished through the use of a pencil grid pattern, that was eventually covered by the application of the painted ground; and therefore not visible in the final work.  The grids allowed Poons to organize the figures of the paintings in a geometric way, so that even when the grids were covered by paint; the remaining forms conveyed a sense of logic and structure to the viewer.  These optical paintings were liked by both critics and collectors, but yet at the height of his success; Poons gave them up in favor of a very loose and painterly approach to his future works.  He underwent a transformation and went from a hard edge and optical format structure; to a very lyrical and expressionist painter.  It is this later painting style, that he is most known for creating.

Untitled - Purple; Serigraph on paper; c. 1975; Signed in pencil lower right and numbered 31/100 in pencil lower left; Framed with a white linen liner, black wood frame, and UV conservation glass.

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Robert Scull, the taxi cab tycoon and prominent art collector; was instrumental in the development of Larry Poons' artistic career.  Robert Scull (from Painters Painting, 1984 by Emile De Antonio and Mitch Tuchman): "When I met Larry Poons, he was a short-order cook. I said to him, 'Well, how much do you make a week?'  He said, 'Twenty-five dollars.'  I said, 'What are you talking about? Nobody makes twenty-five dollars anymore.'  He said, 'Well, what I mean is, I only work two hours a day, and that gives me enough to......  'Well,' I said, 'I'll give you eight weeks' worth of salary: I'll buy a painting from you.'  And he looked at me very suspiciously, and he said, 'Well, I'm willing to quit my job, but I want the eight weeks in advance, because if you change your mind, I'm out of a job.'"

Untitled - Blue; Serigraph on paper; c. 1975; Signed in pencil lower right and numbered 31/100 in pencil lower left; Framed with a white linen liner, black wood frame, and UV conservation glass.

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Larry Poon's most famous paintings in this lyrical expressionistic style were dubbed elephant skin or dried river basin paintings, because of their very thick or poured paint surfaces.  Paint was poured onto the canvas in layers and streaks.  The effect was a bold expressionist painting that had the feel of thick lava or if the paint were thinned, colored water.  Individual pure applied colors could be read just as easily as the blended poured colors; and after intensive application of paint onto a very large un-streached canvas, the resulting paintings were then cropped and sized.  Sections of the massive painted canvas were chosen for both their scale, texture, and/or color; and the resulting stretched works could be as small as a foot long, long and narrow, or the size of a billboard.

Untitled - Pink; Serigraph on paper; c. 1975; Signed in pencil lower right and numbered 31/100 in pencil lower left; Framed with a white linen liner, black wood frame, and UV conservation glass.

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When Larry Poons was asked about how the paint was applied, he responded, "Well, pouring.  I've been pouring for about a year now.  So, the combination of pouring, muscle... I can get an effect by doing it hard or just laying it down soft, and a lot of it has come from knowing the slight shift in the floor that I'm working on, because gravity does pull the paint around.  I've kind of gotten used to this floor; it has taken a while."

In these wonderful works, pictured and offered here for sale; the colors are chosen very carefully and although these are a matched numbered suite, each individual piece reads as a complete work.  In the case of the Untitled - Black, both mat and gloss black paint are used to create a wonderful sublime  effect.  The colors of blue and pink in the work are only seen as small streaks that were not completely obscured by the application of the poured fields of black.  Untitled - Purple, Blue, and Pink are much more easier read as to when and how the paint was applied.  The fields of color on the ground ebb and flow, and the paint can be seen as being thinned or thick based on the resulting flow rate.  The order of the application of the colors can also be determined.  These works are some of the finest editioned works on paper created by Poons and showcase his wonderful artistic skill!

#Poons #LarryPoons #colorfield #RobertScull #abstractexpressionism #lyricalpainting #serigraph #untitledartgallery

Kenneth Noland Hand made paper "Kenneth Noland/No 1 1976"

# 1, 1976; Signed, titled, and dated "Kenneth Noland/No 1 1976" in blue ink verso; Top notation and Signed "Kenneth Noland, 1977" on board attached to verso of the frame backing; Handmade paper; Thomas Segal Gallery, and International Institute of Experimental Printmaking stickers on verso of frame; Framed floated on a cream colored mat, white wood frame, and plexiglass.

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This work, "#1" from 1976, is a wonderful example of Noland at his best!  Kenneth Noland worked in series, meaning that the structure that was used to compose his color paintings was relegated to a defined format.  The first format to emerge in the late 1950's were the circle paintings followed in the early 1960's by the chevrons.  

Photograph showing the artist, title, and date of the work.

Photograph of the Kenneth Noland pencil signature, date, and annotation regarding the top of the work.

This work is from the strip series, which started mid to late 1960's.  Although lacking the traditional objects of a figurative paining, this work reads as a wonderful meditative introspective painting.  The ground of the work is a soft grey blue and the strips float above.  The top most stripe is a very light grey with a thin band of white separating it from the the next wider strip of pink below.  The next red strip is separated from all strips by the grey blue ground as is the white strip on the bottom.  The structure of the strips, as well as the color choice, is very well executed.  The work is also very large, with a sheet size of 34" x 34" and a frame size of 41" x 41".

Framed image of the Kenneth Noland's No. 1.

#Noland #KennethNoland #handmadepaper #colorfield #abstractart #art #geometricabstraction #untitledartgallery

Andy Warhol - "Sunset," 1972

Sunset, 1972; Serigraph on paper, numbered 77/470, signed Andy Warhol and dated 1977 in pencil verso; published by David Whitney, New York; Stamped in black verso "Hotel Marquette Prints"; Size - Sheet 34" x 34", Frame 44 1/2" x 44 1/2"; Framed with an acid free linen mat, a white high gloss wood frame, and UV conservation clear glass; Catalog Raisonne: Feldman/Schellmann: II.85-88.

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"Fred [Hughes] got involved right away with both art and moviemaking - he arranged a commission for me from the de Menils to film a sunset for something to do with a bombed church in Texas that they were restoring.  I filmed so many sunsets for that project.." - Andy Warhol

Nico was a German singer-songwriter, lyricist, composer, musician, fashion model, and actress who became one of the Warhol Superstars of the 1960s.  She was also known for her fantastic vocals as a singer and member of the Velvet Underground.  In 1967, Andy Warhol was commissioned by the famed art collectors Dominique and John de Menil to make Sunset, a 33 minute film of a sunset.  The sunset itself was filmed in California, and during the film Nico's deep voice can be heard off screen reciting a poem.  At a couple of points in the film, an airplane appears flying through the sunset; and the whole effect is both beautiful and hypnotically mesmerizing.  Sunset is similar to Warhol's earlier film works, such as Empire, in which a static camera is used to film an isolated event.

During the making of Sunset, Warhol shot several color reels of different sunsets and sunrises in East Hampton, San Francisco, and New York City; but none of them were satisfactory for that project.  However, these film reels would serve as the basis for another project five years later.  The architecture firm Johnson & Burgee commissioned Andy Warhol to decorate the landmark Hotel Marquette in Minneapolis.  In 1972, Warhol created "Sunset," a color serigraph on paper.  The edition consisted of 472 (numbered 1-470/470 plus two prints lettered HC; verso) prints that were used to decorated the guest rooms of the hotel.  In addition, another 160 "Sunset" prints were assembled into 40 unique portfolios of four prints each, that Warhol exhibited and sold.  What is truly amazing is that each of the 632 "Sunset" prints created is unique in it's color combination!

Close up of the edition number and the Andy Warhol signature.

Close up of the "Hotel Marquette Prints" stamp and the edition number.

In 1981, the Hotel Marquette underwent a renovation and the prints were removed from the hotel and returned to Warhol's studio.  It is at this time that all of the 472 prints were signed and numbered by Warhol and back stamped "Hotel Marquette Prints," which differentiated them from the other 160 that were sold as portfolios.  All the "Sunset" prints were originally published by David Whitney, New York and printed by Salvatore Silkscreen Co, New York.  Catalogue Raisonne: Feldman & Schellmann II.85-88.

This particular color variant of "Sunset" is an absolutely stunning work with a pale teal sun, set against a powerful red sky and ground.  The work is extremely powerful and dominates any space that it occupies; showcasing the great beauty of a both a sunset and a sunrise!

Framed image of Andy Warhol's "Sunset," 1972.

#Warhol #AndyWarhol #sunset #popart #DavidWhitney #HotelMarquette #sunset #FredHughes #DominiquedeMenil #JohndeMenil #VelvetUnderground #Nico