"U.N. Stamp," 1979 by Andy Warhol

U.N. Stamp, 1979; Lithograph on Rives paper; First-day cover cancellation of Swiss U.N. stamp lower left; Signed Andy Warhol in black ink vertically right margin; Printed signature lower right; Numbered 765/1000 in pencil lower center; Published by United Nations Disaster Relief Organization; Printer: United Nations; With original mailing envelope; Size - Sheet 8 1/2 x 11", Mailing envelope: 9 x 12"; Catalogue Raisonne: Feldman/Schellmann: II.185; Unframed.

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

There is a history of Andy Warhol working on commissioned projects for a vast array of people, organizations, and causes. Warhol's early career was that of a commissioned commercial artist, so it is not surprising that he would accept, like so many artists, projects that he deemed exciting and important.

Andy Warhol's original print "U.N. Stamp" was commissioned by the World Federation of United Nations Association (WFUNA); an organization whose goal is to support the principles and purposes of the United Nations. For over two decades, the Association raised money for the United Nations through the sale of artworks that promoted the ideals of the UN and, in addition, raised money for it's educational programs.

Close up of the first-day cover cancellation of a Swiss U.N. stamp.

Close up of the printed signature.

Close up of the hand signature in black ink.

Back of the lithograph.

Close up of the World Federation of United Nations Associations stamp.

Close up of the Andy Warhol photo-collage stamp.

The WFUNA was founded in the Grand Duchy of Luxembourg on August 2, 1946 by 22 United Nations Associations. The founding was one year after the UN Charter was proclaimed with the opening words “We the peoples of the United Nations." Since it's inception, WFUNA has been the only global organization with the primary mission of supporting the principles and purposes of the United Nations.

Original mailing envelope.

Close up of the mailing address on the original mailing envelope.

Close up of the postage stamp cancellation on the original mailing envelope.

For several decades during the 20th century WFUNA conducted a fundraising program in order to promote the ideals of the UN. A large portion of the fundraising was based on the sale of first day covers of UN stamps and lithographs produced by artists and celebrities such as: Pablo Picasso, Lou Zheng Jang, Joan Miro, Salvador Dali, Ruben Leyva, Al Hirschfeld, and Andy Warhol. Warhol created the U.N. Stamp lithograph based off of a first-day cover of an actual United Nations stamp. The total edition for the lithograph is 1000, with 500 of the edition being the cancellation of the Swiss stamp and the other 500 being the cancellation of the U.S. stamp.

This is a very beautiful work that doubles in collectibility because it is both an original print by Andy Warhol and an original first day cover; which is perfect for a philatelist. The work also comes with the original mailing envelope.

#Warhol #AndyWarhol #Popart #UNstamp #UN #UnitedNations #WFUNA #lithograph #Lichtenstein #RoyLichtenstein #philatelist #philatelic #firstdaycover

"Weather Vane," 1969-70; Aquatint by Helen Frankenthaler

 
Weather Vane, 1969-70; Aquatint on Buff Arches paper; Signed Frankenthaler and dated 1969-70 in pencil lower right and numbered 13/23 I in pencil lower left; Published by Universal Limited Art Editions, West Islip, NY (with their chop mark lower left); Catalogue Raisonne: Harrison 20; Size - Image 19 x 14", Sheet 30 x 22 1/4", Frame 31 1/2 x 24"; Framed floated on an acid free mat, wood frame, and UV conservation clear glass.

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

Helen Frankenthaler (1928-2011) was an American abstract expressionist painter who exhibited artwork for over six decades starting from the early 1950's until her passing in 2011. She was included in the 1964 Post-Painterly Abstraction exhibition curated by the famed art critic Clement Greenberg; and the body of work presented in the show would latter be known as Color Field Painting. Frankenthaler's work has been the subject of several retrospective exhibitions, including the important 1989 retrospective held at the Museum of Modern Art in New York City. In 2011 she was awarded the National Medal of Arts.

Close up of "Weather Vane" by Helen Frankenthaler

Helen Frankenthaler is, without a question, one of the greatest artists of the twentieth century and is one of the very few female artists that would be included in such a list. She was married to the abstract expressionist artist Robert Motherwell, and had an intimate relationship with the famous art critic Clement Greenberg; so her connections within the art community run very deep. Frankenthaler was initially involved in the abstract expressionist movement but was looking for a path forward. After a trip in October to Nova Scotia, she had a breakthrough with a painting that she called "Mountains and Sea," 1952. The painting was abstract, and rather than painting the landscape seen on her trip, the work portrayed the experience itself. The composition 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, their own painting styles and working methods were forever changed.

Close up of the Frankenthaler signature and the date.

Close up of the edition number and the ULAE chop mark.

Framed "Weather Vane" by Helen Frankenthaler

During the 1960's, ULAE published original prints by Sam Francis, Helen Frankenthaler, Jasper Johns, Barnett Newman, Robert Rauschenberg, Larry Rivers, Cy Twombly, and many other major modern artists working at the time. This is the last print created in the 1960's and the last listed in the 1960's section of the Frankenthaler print catalogue raisonne. "Weather Vane" is an aquatint printed in five colors from two copper plates in the following sequence: 1) Beige 2) Olive, orage, purple-red, and blue-grey. The printing of the beige color first provides a centered ground that allows for the other colors, located in the four corners, to better activate the composition. The colors appear to have been poured onto the paper, referring back to the early post-painterly work done by Frankenther in the 1950's and 60's. This is a wonderful example of Frankenthaler at her best and a great addition to any art collection.

#Frankenthaler #HelenFrankenthaler #printcollecting #noland #colorfield #artcollecting #etching #aquatint #MountainsandSea #DonnSteward #Weathervane #ULAE #untitledartgallery #ClementGreenberg #postpainterlyabstraction #abstract #RobertMotherwell

"Solarium," 1964; Lithograph by Helen Frankenthaler

  
Solarium, 1964; Lithograph on white Rives BFK paper; Signed Frankenthaler and dated '64 in pencil lower right and numbered 10/18 in pencil lower left; Published by Universal Limited Art Editions, West Islip, NY (with their chop mark lower left); Catalogue Raisonne: Harrison 5; Size - Image: 17 3/4 x 13 3/4", Sheet: 25 1/2 x 19 1/4", Frame: 29 1/2 x 23 1/2"; Framed floated on an acid free mat, with a silver wood exterior frame, and UV plexiglass.

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

Helen Frankenthaler (1928-2011) was an American abstract expressionist painter who exhibited artwork for over six decades starting from the early 1950's until her passing in 2011. She was included in the 1964 Post-Painterly Abstraction exhibition curated by the famed art critic Clement Greenberg; and the body of work presented in the show would latter be known as Color Field Painting. Frankenthaler's work has been the subject of several retrospective exhibitions, including the important 1989 retrospective held at the Museum of Modern Art in New York City. In 2011 she was awarded the National Medal of Arts.

Close up of "Solarium" by Helen Frankenthaler

Helen Frankenthaler is, without a question, one of the greatest artists of the twentieth century and is one of the very few female artists that would be included in such a list. She was married to the abstract expressionist artist Robert Motherwell, and had an intimate relationship with the famous art critic Clement Greenberg; so her connections within the art community run very deep. Frankenthaler was initially involved in the abstract expressionist movement but was looking for a path forward. Then, after a trip in October to Nova Scotia, had a breakthrough with a painting entitled "Mountains and Sea," 1952. The painting was abstract, and rather than painting the landscape seen on her trip, the work portrayed the experience itself. The composition 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, their own painting styles and working methods were forever changed.

 
Close up of the Frankenthaler signature and the date.

Close up of the edition number and ULAE chop mark.

During the 1960's, ULAE published original prints by Sam Francis, Helen Frankenthaler, Jasper Johns, Barnett Newman, Robert Rauschenberg, Larry Rivers, Cy Twombly, and many other major modern artists working at the time. In the 1960's ULAE established an etching studio and one the printers hired was Donn Steward. Steward had studied etching at the University of Iowa and had trained as a lithography printer at Tamarind. He worked with Frankenthaler and printed the four aquatints made at ULAE and in addition, he and Zigmunds Priede assisted in the printing of "Solarium."

The first five of Helen Frankenthaler's prints were all published by ULAE, and all have an edition size less than twenty-five. "Solarium," 1964 is the fifth print published by ULAE and it is part of the permanent collections of Musuem of Modern Art NY, The Art Institute of Chicago IL, The National Gallery of Art DC, and others. Because the edition size is only 18 and being part of several major museum's permanent collections and high end collectors; the probability is greatly reduced that the work is ever available in the open market.

Framed "Solarium," 1964; Lithograph by Helen Frankenthaler.

A solarium is "a room fitted with extensive areas of glass to admit sunlight." Helen Frankenthaler's choice of title is certainly appropriate for the work, as it is reminiscent of the experience of a solarium. The rich and textured blue sky, the rays of yellow and warm red-orange all combine with the empty spaces of the composition to evoke a relaxing and calm environment. This is an extremely rare and important work by Helen Frankenthaler and certainly a great addition to any fine art collection.

#Frankenthaler #HelenFrankenthaler #printcollecting #noland #colorfield #artcollecting #lithograph #Solaruim #ULAE #untitledartgallery #ClementGreenberg #MountainsandSea #RobertMotherwell #abstract #DonSteward #ZigmundsPriede

"La Patisserie from Paysages et Interieurs," 1899 by Jean-Édouard Vuillard

La Patisserie from Paysages et Interieurs, 1899 by Jean-Édouard Vuillard; Lithograph in colors on Chine; From the edition of 100 with margins; Size: 14" x 10 5/8"; Sheet 15 3/8" x 11 7/8" Catalogue Raissone: R.-M. 41; Unframed.

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

"Conceive of a picture really as a series of harmonies." -  Jean-Édouard Vuillard

Jean-Édouard Vuillard (1868 – 1940) was a French painter and print maker associated with the Nabis; a group of Post-Impressionist avant-garde artists who, in the 1890's, led the fine art movement in France. An early turning point in the career of Vuillard occurred when, on the advice of his closest friend Roussel, he refused a military career and instead joined Roussel in the studio of painter Diogène Maillart.

By 1890, the year in which Vuillard met Pierre Bonnard and Paul Sérusier, he had joined the Nabis; a group of art students inspired by the synthetism of Gauguin. Vuillard contributed to their exhibitions at the Gallery of Le Barc de Boutteville, and later shared a studio with Bonnard and Maurice Denis. Soon Vuillard met brothers Alexandre and Thadée Natanson who were the founders of "La Revue Blanche," a well known cultural review. Vuillardʹs printed graphics began to appear in the journal, along with those of Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton, and many other famous artists of the time. In Vuillard's paintings and decorative pieces, he depicted mostly interiors, streets, and gardens. In 1898 he began to travel extensively, always looking for inspiration. He visited Venice and Florence; quickly followed by London, Milan, Venice, and Spain.

As photography began to rise in popularity, engraving had to be adapted to go beyond simple reproduction of artworks, and instead focus on creativity and originality. The advent of color lithography also affected the arts and Vuillard, in 1893, began working with the medium. His first works were several illustrations for books and theater programs. Six years later, Vuillard produced a beautiful suite of color lithographs entitled "Landscape and Interiors," that was published by a famous art dealer Ambroise Vollard.

This work, "La Patisserie" (The Pastry Shop) is from the famous 1899 Ambroise Vollard suite "Paysages et Interieurs" (Landscape and Interiors), with an edition size of 100 and containing twelve lithographs with a lithographed cover. "La Patisserie" is an excellent example of Vuillard at his best and the image depicts the inside of the Patisserie (the letters of "tisserie" can be seen on the sign on the top left hand side of the work). Various cafe tables are occupied by well dressed patrons enjoying food and drink; and there is a serving table balancing the composition to the left. The construction of the work is accomplished by using intricate patterns that are linked by strong forms and balancing structure. "La Patisserie" is regarded as one of the finest graphic works ever created by Vuillard and it is in the permanent collections of Museum of Modern Art, the Metropolitan Museum of Art, Museum of Fine Arts in Houston, the Van Gogh Museum, and many other major worldwide museums. A rare and important work, perfect for any fine art collection.

#JeanÉdouardVuillard #Vuillard #LaPatisserie #ThePastryShop #PastryShop #AmbroiseVollard #PaysagesetInterieurs #LandscapeandInteriors #Nabis #Roussel #PierreBonnard #Gauguin #MauriceDenis #HenrideToulouseLautrec #FélixVallotton #ThéodoreDuret #lithograph #lithography

"House Ball with Fallen Toy Bear," 1997 by Claes Oldenburg and Coosje van Bruggen

 

House Ball with Fallen Toy Bear, 1997; Pigment print on Japanese watercolor paper; Signed Oldenburg in pencil lower right and numbered 22/50 in pencil lower left; Published by Contemporary Editions; Framed with a linen liner, black wood frame, and plexiglass; Size - Sheet 35 1/2" x 44", Frame 40 1/2 x 49".

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

"I am for an art that is political-erotical-mystical, that does something more than sit on its ass in a museum." - Claes Oldenburg 

Claes Oldenburg is an American sculptor living and working in New York and he is best known for his public art installations, which usually feature either very large replicas or soft sculpture versions of everyday objects. Many of the works were made in collaboration with his wife of 32 years, Coosje van Bruggen; who passed away in 2009.

 

Close up of "House Ball with Fallen Toy Bear"

Close up of the Fallen Toy Bear.

Oldenburg began working with with the idea of soft sculpture in 1957, when he completed a free-hanging piece made from a woman's stocking stuffed with newspaper (titled later as "Sausage"). In 1959, he began to make figures, signs, and objects out of papier-mâché, sacking, and other rough materials. This was followed in 1961 by objects created out of plaster and enamel, drawing inspiration from food and cheap clothing. In the 1960s he was very involved with the "Happenings" movement and his own productions were entitled "Ray Gun Theater." His artistic collaboration involved other members of the art scene and included: Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom, Richard Artschwager, art dealer Annina Nosei, art critic Barbara Rose, and screenwriter Rudy Wurlitzer. In December 1961, he rented a storefront 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, stocked with rough sculptures of consumer goods.

Close up of the Oldenburg signature.

Close up of the edition number.

Oldenburg moved to Los Angeles, California in 1963. By 1965 he had turned his attention to drawings and projects for imagined outdoor monuments. The first appearance of "Houseball" was the 1985 performance "Il Corso del Coltello;" which was based on the idea that individuals could gather all of their possessions into a large cloth, tie them up in the form of a ball, and roll them to their next location. In the performance, the "Houseball" was made up of possessions owned by the character Georgia Sandbag, played by Coosje, that accompanied her on a journey across the Alps. Coosje later came to see the "Houseball" as a symbol of displaced refugee populations, and in 1993 she proposed a permanent larger version of the sculpture near what had been Checkpoint Charlie, the gate entry for the Berlin Wall. The sculpture was approved, however the site was returned to it's former owners who had been displaced during World War II.

The first appearance of the "Houseball" sculpture was in Bonn Germany, in front of "Kunst- und Ausstellungshalle der Bundesrepublik." The following year the sculpture was moved to it's permanent site in Berlin, the Bethlehemkirch-Platz, directly in front of a building designed by Philip Johnson.

"House Ball with Fallen Toy Bear" is a wonderful graphic by Claes Oldenburg and Coosje van Bruggen, with the "Houseball" sculpture as it's subject. The work was created using Oldenburg's iconic draftsman style and illustrates the "House Ball" with ladder, stool, chair, washboard, and other household items tied up within a cloth ball. Having fallen away from the ball is a child's stuffed toy teddy bear, symbolizing both items left behind as well as displaced children. A beautiful and powerful work in large scale format; as the framed artwork measures an impressive 40 1/2" x 49".

#Oldenburg #ClaesOldenburg #Popart #Warhol #CoosjevanBruggen #HouseBallwithFallenToyBear #untitledartgallery #toybear #houseball #sculpture #fallentoybear #IlCorsodelColtello

"Dove Subject" Pitcher, 1959 by Pablo Picasso

 

Dove Subject, 1959; Glazed white earthenware pitcher painted in blue and black with white enamel; Numbered 173/500; Inscribed 'EDITION PICASSO' and 'MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Dove Pitcher: 6" x 8 3/4" x 4 1/2"; Catalogue Raisonne: A.R. 435.

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

During the late 1940s, Pablo Picasso spent the summers on the Cote d'Azur in the South of France. There the artist visited Vallauris for the annual pottery exhibition in 1946. He was impressed by the quality of the Madoura works and was introduced to the owners, Suzanne and Georges Ramié. The Ramiés welcomed the famous artist into their workshop and gave him access to all the tools and resources the he needed in order to work in the medium of ceramics. In exchange, the Ramié family would produce and sell his limited edition ceramic works and this relationship spanned 25 years. It was also at the Madoura factory in 1953 that Picasso met Jacqueline Roque, who would become his second wife in 1961.

Side view of "Dove Subject" Pitcher by Pablo Picasso

Front view of "Dove Subject" Pitcher by Pablo Picasso

The Market for Picasso ceramics has been steadily rising as outlined by a recent article:
"Over the past 10 years, the market for Picasso ceramics has steadily grown, with seasoned collectors and new buyers alike vying for Picasso's editioned and unique ceramics at auction. This market is stable, with a steady high sell-through rate around 89% (87% in 2004, 89% in 2005, 87% in 2011, and 90% in 2012), and prices that are still lower than the rest of Picasso's work. The broad range of estimates and sales prices help make this market attractive to many collectors, but also explain the high average sales prices, which are skewed by a few exceptional pieces. In the previous two years, more than 60 exceptional ceramic works sold for over US$100,000: 34 in 2011 and 29 in 2012 (vs. six in 2004 and 2005)." - The Story Behind Picasso Ceramics, by Fanny Lakoubay and Conner Williams, 2013

The famed artist Georges Bloch stated of Picasso’s ceramic works:
 "…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.”

Back view of "Dove Subject" Pitcher by Pablo Picasso

Bottom view of "Dove Subject" Pitcher by Pablo Picasso showing the inscriptions 'EDITION PICASSO' and 'MADOURA' and showing the 'MADOURA PLEIN FEU' and 'EDITION PICASSO' pottery stamps

In 1937, Pablo Picasso was commissioned by the Spanish Republican government to create a large mural for the Spanish display at the "Exposition Internationale des Arts et Techniques dans la Vie Moderne" at the World's Fair in Paris. He created an enormous mural called “Guernica,” named after a Spanish town in the Basque country that had been firebombed by the Nazis, who were backers of the Nationalist forces of General Franco during the Spanish Civil War. This was the first political work that Picasso created, and it drew international attention to both the Spanish Civil War and to the horrors of war. “Guernica” soon gained monumental status, becoming a potent anti-war symbol; and in the process thrust Picasso into the forefront of the emerging world Peace Movement. In May 1940, Hitler invaded and occupied France. Throughout World War II Picasso, living in Nazi-occupied Paris, was continually harassed by the Gestapo who were familiar with his anti-Nazi mural.

With the international success of "Guernica" as a anti-war symbol, Picasso was invited to design an image to represent peace. He had painted and drawn pigeons and doves throughout his lifetime, and in 1949 the author Louis Aragon (a staunch supporter of the French Communist Party) chose the artist’s lithograph, “La Colombe (The Dove)" for a poster commemorating the Peace Conference in Paris. (Interestingly, the model for the famous “peace dove” was one of Henri Matisse‘s doves.) Posters of “La Colombe” were hung throughout Paris; and when Picasso’s daughter was born in April he named her Paloma, which is Spanish for dove.

Picasso later provided variations on the "Dove of Peace" theme for the Peace Congresses in Wroclaw, Stockholm, Sheffield, Vienna, Rome, and Moscow. The Peace Movement distributed images signed by Picasso, which were then multiplied throughout the world; thus creating an aura of notoriety around the artist. The “Dove of Peace” image caught the attention of the world; and would become a symbol for the peace movement, the Communist Party, and other liberal groups. In the years that followed, Picasso agreed to create other "peace doves" for conferences across Europe. Today, the modern "Dove of Peace" is a more whimsical bird than the 1949 original. The dove is portrayed in happy flight, bearing numerous bouquets of olive branches and flowers in its wings, beak, and feet; and has become one of the most recognizable works of art in the world!

This is an absolutely spectacular work of art by Pablo Picasso, because it depicts in three dimensions one of his most iconic images, the "Dove of Peace." The glazed white earthenware dove pitcher is beautifully painted in blue and black, with white enamel; and the work is almost nine inches long. A wonderful original work by the 20th century's greatest artist, and one of the most recognizable forms in the world! A fine addition to any art collection.

#Picasso #PabloPicasso #ceramic #Dove #DoveofPeace #LaColombe #Guernica #Picassoceramic #Madoura #MadouraPottery #Vallauris #SuzanneRamie #GeorgesRamie #Ramie #JacquelineRoque #untitledartgallery #cubism #Picador #PicadorPitcher #bull #GeorgesBloch #bullfighter #bullfighting #FrancoisGilot #HenriMatisse #PeaceDove #DoveSubject #DoveSubjectPitcher #SpanishCivilWar #PalomaPicasso #LouisAragon

"Comet," 1980-82; Soft-ground Etching, Sugar-lift Etching, and Aquatint Collage by Helen Frankenthaler

Comet, 1980-82; Soft-ground etching, sugar-lift etching, and aquatint in colors, on chocolate brown Moriki paper collaged to white HMP handmade Zaaen linen paper; Signed Frankenthaler and dated 1980-82 in pencil lower right and numbered 8/8 in pencil lower left; Published by Donn H. Steward, Halesite, NY (with their blindstamp); Catalogue Raisonne: Harrison 90; Size - Image: 16 x 19 1/2", Sheet: 25 x 29 3/4"; Unframed.

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

"Comet has all the luminous qualities of a mystifying and beautiful celstial body." - "Frankenthaler: A Catalogue Raisonne, Prints 1961-1994" by Pegram Harrison

Helen Frankenthaler (1928-2011) was an American abstract expressionist painter who exhibited artwork for over six decades starting from the early 1950's until her passing in 2011. She was included in the 1964 Post-Painterly Abstraction exhibition curated by the famed art critic Clement Greenberg; and the body of work presented in the show would latter be known as Color Field Painting. Frankenthaler's work has been the subject of several retrospective exhibitions, including the important 1989 retrospective held at the Museum of Modern Art in New York City. In 2011 she was awarded the National Medal of Arts.

Close up of "Comet."

Helen Frankenthaler is, without a question, one of the greatest artists of the twentieth century and is one of the very few female artists that would be included in such a list. She was married to the abstract expressionist artist Robert Motherwell, and had an intimate relationship with the famous art critic Clement Greenberg; so her connections within the art community run very deep. Frankenthaler was initially involved in the abstract expressionist movement but was looking for a path forward. Then, after a trip in October to Nova Scotia, had a breakthrough with a painting entitled "Mountains and Sea," 1952. The painting was abstract, and rather than painting the landscape seen on her trip, the work portrayed the experience itself. The composition 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, their own painting styles and working methods were forever changed.

Close up of the Frankenthaler signature and date.

During the 1960's, ULAE published original prints by Sam Francis, Helen Frankenthaler, Jasper Johns, Barnett Newman, Robert Rauschenberg, Larry Rivers, Cy Twombly, and many other major modern artists working at the time. In 1966 ULAE established an etching studio and on the printers hired was Donn Steward. Steward had studied etching at the University of Iowa and had trained as a lithography printer at Tamarind. He worked with Frankenthaler and printed the four aquatints made at ULAE.

The next paragraph is from "Frankenthaler: A Catalogue Raisonne, Prints 1961-1994" by Pegram Harrison:

"Frankenthaler and Donn Steward began work in 1980 on "Comet," their last and most challenging collaboration before his death in 1985, and it took them two years to complete the project. Using only soft-ground and sugar-lift etching as well as aquatint, "Comet" is one of the most painterly and interwoven of Frankenthaler's intaglio prints."

Close up of the edition number.

 Close up of the Donn H. Steward blindstamp.

This is an extremely important and rare work by Helen Frankenthaler. Over a period of two years, Frankenthaler and Donn Steward were able to create an amazing work of art that captures the experience of looking into the heavens and seeing a beautiful painterly night sky. The printed image is collaged onto a mottled and textured handmade paper, that further enhances the beauty of the work. The edition size is only eight and so represents a very rare opportunity for the collector.

#Frankenthaler #HelenFrankenthaler #printcollecting #noland #colorfield #artcollecting #etching #aquatint #sugarliftetching #softgroundetching #DonnSteward #Comet #ULAE #untitledartgallery

"Santa Claus" Trial Proof from Myths, 1981 - Screenprint with Diamond Dust by Andy Warhol

Santa Claus Trial Proof From Myths, 1981; Screenprint in colors with diamond dust on Lenox Museum Board; Signed Andy Warhol and numbered TP 26/30 in pencil lower right; Published by Ronald Feldman Fine Arts, Inc., New York; Size - Sheet 38" x 38", Frame 45 1/2 x 45 1/2"; Catalogue Raisonne: Feldman/Schellmann: II.266; Framed floated on an acid free mat, silver wood frame, and UV conservation clear museum perfect glass.

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

In 1981, Andy Warhol created a series of works that he called Myths. They were all portraits of iconic figures and included, The Star a portrait of Greta Garbo from the film Mata Hari, Uncle Sam, Mammy, Howdy Doody, Superman, The Witch, Dracula, Mickey Mouse, Santa Claus, and The Shadow, a profile portrait of Andy Warhol in red casting a shadow on a wall beside him. In addition to Warhol's use of bold graphic colors, he added diamond dust to the prints. Diamond dust was Andy's term for the finely crushed glass that was added to the lines and/or the background of his serigraphed prints. The resulting works were spectacular, and the diamond dust was the magical sparkle that seemed to make the works even more mythical!

Close up of the two Santa Claus faces.

Santa Claus, Saint Nicholas, Saint Nick, Father Christmas, Kris Kringle, Santy, or simply Santa is a mythical figure who, in many Western cultures, brings gifts to "good" children on Christmas Eve and the early morning hours of Christmas Day. The modern day Santa Claus is derived from a combination of the British figure of Father Christmas, the Dutch figure of Sinterklaas, and Saint Nicholas the historical Greek bishop and gift-giver of Myra.

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

L. Frank Baum's 1902 children's book The Life and Adventures of Santa Claus, further popularized Santa Claus. Because much of Santa Claus's history was not set in stone at the time, this allowed Baum plenty of room to provide a history and greater character development. Images of Santa Claus were further popularized through the artist Haddon Sundblom's depiction of him for The Coca-Cola Company's Christmas advertising campaign of the 1930's. The popularity of the now idealized image created urban legends that Santa Claus was invented by The Coca-Cola Company, or that Santa wears red and white because they are the colors used to promote the Coca-Cola brand; neither of which is true.

Close up of the Andy Warhol copyright and the Publisher stamp, verso.

Framed  "Santa Claus" Trial Proof from Myths, 1981 by Andy Warhol.

Andy Warhol adored Christmas and created a great many works of art centered around the Holiday, as well as numerous advertising campaigns. This work, "Santa Claus," from 1981 was created by Warhol by first photographing an individual dressed up as Santa and then selecting the best photograph in which to begin work. The image was then cropped, paint colors chosen; and after, silkscreening, Diamond Dust was glued on top of the outlines giving "Santa Claus" a mythical and magical quality. This is a unique Trial Proof of "Santa Claus" and the color combination is specific to this work.  In addition to the unique Warhol color choices, there is an addition face image of Santa that was screened in red, 90 degrees and to the right of the main image. Warhol had utilized addition turned and shifted images in his paintings of the 1960's however, this is the only known impression of Santa Claus where a double facial exposure exists. The words of the song "Santa Claus Is Comin' to Town" can really enhance the idea of the double face image with the words "He sees you when you're sleeping - He knows when you're awake - He knows if you've been bad or good - So be good for goodness sake!" Those extra set of eyes see all of the children around the world; and this work is so beautiful, that it should be hung on the wall and enjoyed all year long!

#Warhol #AndyWarhol #PopArt #Santa #SantaClaus #StNick #SaintNicholas #SaintNick #FatherChristmas #KrisKringle #Santy #DiamondDust #LFrankBaum #FrankBaum #Christmas #HaddonSundblom #CocaCola #untitledartgallery #Sinterklaas #JohnFrederickCoots #SantaClausisComintoTown #HavenGillespie #EddieCantor

Picador Pitcher 1952 by Pablo Picasso

Picador Pitcher, 1952; Terracotta pitcher with black glaze; From the edition of 500; Inscribed 'EDITION PICASSO MADOURA' underside; Size - Picador Pitcher: 5 1/4" x 3 3/4" x 4 1/2"; Catalogue Raisonne: A.R. 162.

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

During the late 1940s, Pablo Picasso spent the summers on the Cote d'Azur in the South of France. There the artist visited Vallauris for the annual pottery exhibition in 1946. He was impressed by the quality of the Madoura works and was introduced to the owners, Suzanne and Georges Ramié. The Ramiés welcomed the famous artist into their workshop and gave him access to all the tools and resources the he needed in order to work in the medium of ceramics. In exchange, the Ramié family would produce and sell his limited edition ceramic works and this relationship spanned 25 years. It was also at the Madoura factory in 1953 that Picasso met Jacqueline Roque, who would become his second wife in 1961.

Side view of Picador Pitcher showing the bull.

Side view of Picador Pitcher showing the handle.

The Market for Picasso ceramics has been steadily rising as outlined by a recent article:
"Over the past 10 years, the market for Picasso ceramics has steadily grown, with seasoned collectors and new buyers alike vying for Picasso's editioned and unique ceramics at auction. This market is stable, with a steady high sell-through rate around 89% (87% in 2004, 89% in 2005, 87% in 2011, and 90% in 2012), and prices that are still lower than the rest of Picasso's work. The broad range of estimates and sales prices help make this market attractive to many collectors, but also explain the high average sales prices, which are skewed by a few exceptional pieces. In the previous two years, more than 60 exceptional ceramic works sold for over US$100,000: 34 in 2011 and 29 in 2012 (vs. six in 2004 and 2005)." - The Story Behind Picasso Ceramics, by Fanny Lakoubay and Conner Williams, 2013

Side view of Picador Pitcher showing the spout.

The famed artist Georges Bloch stated of Picasso’s ceramic works:
 "…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.”

Bottom of Picador Pitcher showing the 'EDITION PICASSO MADOURA' inscription.

Picasso loved three things in life more than anything else: art, bullfighting, and women; most likely in that order. With his ceramic Picador Pitcher he combines two of those loves into one object, by making a three dimensional work of art with bullfighting as it's subject. A Picador is one of a pair of horsemen in a Spanish bullfight that jab the bull with a lance. They perform in the "Tercio de Varas" which is the first of the three stages in a Spanish bullfight. The Picador has three main functions:

1) To pierce the muscle on the back of the bull’s neck in order to straighten the bull's charge.
2) To fatigue the bull’s neck muscles and general stamina as it tries to lift the horse with its head.
3) To lower the bull’s head in preparation for the next stage.

Picador Pitcher, not only has the image of the Picador holding his lance and sitting astride his horse, but on the opposite side has the image of the bull as well. In addition, the handle of the pitcher is wonderfully decorated. A beautiful ceramic by Pablo Picasso and a great addition to any art collection!

#Picasso #PabloPicasso #ceramic #Picassoceramic #Madoura #MadouraPottery #Vallauris #SuzanneRamie #GeorgesRamie #Ramie #JacquelineRoque #untitledartgallery #cubism #Picador #PicadorPitcher #bull #GeorgesBloch #bullfighter #bullfighting #FrancoisGilot

Chouette (Wood Owl) Vase by Pablo PIcasso, 1968

Chouette (Wood Owl) Vase, 1968; Partially glazed white earthenware engraved vase painted in colors; Numbered 343/500; Inscribed 'EDITION PICASSO' and 'R141 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Wood Owl Vase: 11 3/4" x 6 1/2" x 9 1/2"; Catalogue Raisonne: A.R. 543.

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

During the late 1940s, Pablo Picasso spent the summers on the Cote d'Azur in the South of France. There the artist visited Vallauris for the annual pottery exhibition in 1946. He was impressed by the quality of the Madoura works and was introduced to the owners, Suzanne and Georges Ramié. The Ramiés welcomed the famous artist into their workshop and gave him access to all the tools and resources the he needed in order to work in the medium of ceramics. In exchange, the Ramié family would produce and sell his limited edition ceramic works and this relationship spanned 25 years. It was also at the Madoura factory in 1953 that Picasso met Jacqueline Roque, who would become his second wife in 1961.

Side view of the Chouette (Wood Owl) Vase by Pablo Picasso

Front view of the Chouette (Wood Owl) Vase by Pablo Picasso

The Market for Picasso ceramics has been steadily rising as outlined by a recent article:
"Over the past 10 years, the market for Picasso ceramics has steadily grown, with seasoned collectors and new buyers alike vying for Picasso's editioned and unique ceramics at auction. This market is stable, with a steady high sell-through rate around 89% (87% in 2004, 89% in 2005, 87% in 2011, and 90% in 2012), and prices that are still lower than the rest of Picasso's work. The broad range of estimates and sales prices help make this market attractive to many collectors, but also explain the high average sales prices, which are skewed by a few exceptional pieces. In the previous two years, more than 60 exceptional ceramic works sold for over US$100,000: 34 in 2011 and 29 in 2012 (vs. six in 2004 and 2005)." - The Story Behind Picasso Ceramics, by Fanny Lakoubay and Conner Williams, 2013

Side view of the Chouette (Wood Owl) Vase by Pablo Picasso

Back view of the Chouette (Wood Owl) Vase by Pablo Picasso

The famed artist Georges Bloch stated of Picasso’s ceramic works:
 "…in approach, material and technique is as novel as it is interesting. Pottery, gleaming white discs with relief designs, monochrome or brightly coloured ovals, dishes and even jugs and vases here serve as bearers of compositions whose themes express the joyous, life-loving side of Picasso’s work. They are printed from blocks and stamps fashioned by the master over a period of more than twenty years in the Madoura pottery workshop in Vallauris.”

Inscribed 'EDITION PICASSO' and 'R141 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside

From Charles Mathes's site valuethoughts.com:
"In 1946 Picasso was staying near Antibes in the South of France and decorating the walls of what would become the Musée Picasso. A small owl with an injured claw that had been found in a corner ended up living with him and his lover, Francois Gilot. According to Gilot in her book “Life With Picasso” the owl was an ill-tempered creature who smelled awful and ate only mice. The owl would snort at Picasso and bite his fingers; Picasso would reply with a string of obscenities just to show the bird who was the most ill-tempered. Clearly bad manners were the way to Picasso’s heart for not only did he do a number of paintings, drawings and prints of owls, he created numerous ceramics."

Inscribed 'EDITION PICASSO' and 'R141 MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside

Top view of the Chouette (Wood Owl) Vase by Pablo Picasso

Picasso would use the owl in paintings, prints, drawings, sculptures, and ceramics for the rest of his life. After Picasso's death, drawings were found that illustrate that the form used for the owl ceramics had been made during the time in 1946 when the wood owl first appeared in Picasso's atelier. This is a wonderful owl vase ceramic created in 1968, and the painting of the vessel is beautifully rendered in browns, green, black, and cream colors. The brushstrokes are consistent with free form feathers making up the wings, head, and feet. This is a spectacular piece of original Picasso artwork and a great addition for any art collection!

Click on the short video below to see Francoise Gilot, the lover and muse of Pablo Picasso from 1944-1953 and the mother of his two children Paloma and Claude, discuss the small wood owl that came into their lives.

#Picasso #PabloPicasso #ceramic #Picassoceramic #Madoura #MadouraPottery #Vallauris #SuzanneRamie #GeorgesRamie #Ramie #JacquelineRoque #untitledartgallery #cubism #diaulos #diaulosplayer #faun #GeorgesBloch #Chouette #Owl #WoodOwl #FrancoisGilot