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Friday, March 31, 2017

"October 1981 Rangeley, Maine, 1982" by William Wegman



October 1981 Rangeley, Maine, 1982; Color Dye Transfer; Signed, titled, and Numbered 20/75 in white ink lower right; Published by Anthology Film Archives, New York; Printed by Stewart Color Laboratories, New York; Size - Sheet: 25" x 20 1/2", Image 19 1/2 x 19", Mat 32 x 26"; Framed with a single acid free mat, brown wood frame, and UV plexiglass.

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

William Wegman (b. 1943) is an American artist best known for creating artistic photographic and video compositions involving dogs, primarily his own Weimaraners in various costumes and poses. The dogs were cast in poses and characters, often using ingenious props and elaborate costumes that were imitative of human beings. Wegman also used camouflage and draping to disguise these physical changes of his dogs as they aged.



Close up of "October 1981 Rangeley, Maine, 1982" by William Wegman

While Wegman was in Long Beach, he got his Weimaraner dog which he named Man Ray. Man Ray would become his muse, and thus began a long and very fruitful collaboration. Man Ray was known for his endearing deadpan presence, became the central figure in Wegman's photographs and videos.


Close up of the signature, title, and date.

Seeking a refuge from his New York City life, Wegman spent many summers in Maine, which he described as: “Nothing bad happens in Maine—a real Hardy Boys setting. The villains steal firewood or ride ATVs on private property or fish where they should not. Sometimes you encounter a grumpy ornery person who acts suspicious or who is suspicious. What’s there to do in Maine? You can read books and magazines. Paint. Draw. Take pictures. Fish. Hike. Listen to the loons.”


Matted "October 1981 Rangeley, Maine, 1982" by William Wegman 

Framed "October 1981 Rangeley, Maine, 1982" by William Wegman.

October 1981, Rangeley, Maine is a brightly colored dye transfer photograph set in the Maine woods at the peak of fall foliage. A tall dark tree dominates the central axis, in front of which is the cleverly hidden and barely perceptible figure of Man Ray, covered and camouflaged with red, yellow, and green leaves. Above him and attached to the tree is a sign bearing the legend:

State
Game Preserve
No hunting
Trapping or Firearms
—Allowed—
Inland Fisheries and
Game Department

Like much of Wegman’s work, this image is both witty and ironic. The State Game Preserve sign shows signs of being used for target practice, most likely by game hunters. Weimaraners are working dogs and very good for hunting, however Man Ray is forbidden from hunting; and therefore he is camouflaged to escape being detected. This is large work is exceptionally nice and showcases William Wegman at his best! This is one of the last photographs taken of Man Ray, as he passed away in 1982.

Wednesday, March 29, 2017

"Untitled," 1982; by Robert Rauschenberg


Untitled, 1982; Serigraph on Arches Cover paper; Signed Rauschenberg, numbered 20/75, and dated 82 in pencil lower right; Printers chop mark lower left; Published by Anthology Film Archives, New York; Printed by Styria Studio, New York; Size - Sheet: 29 x 21 1/2"; Unframed.

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

Milton Ernest "Robert" Rauschenberg (1925 – 2008) was an American artist whose early works anticipated the Pop Art movement. He is most known for his "Combines" of the 1950s, in which non-traditional (often found) materials and objects were used in innovative combinations. Rauschenberg also worked in the mediums of photography, printmaking, papermaking, and performance art. He was awarded the National Medal of Arts in 1993.

Most of Rauschenberg’s printmaking consists of visual collages drawn from a variety of source material. "Untitled," 1982 was created using photo-screenprinting of images that he appropriated from various sources including sports, technology, and advertising. The images were then arranged with little regard to scale or the formal rules of composition. The most striking and readable image is a photograph of a javelin thrower in the lower left, located directly above oil derricks or construction cranes with workers positioning a steel tower. The angle of the crane mirrors the right leg of the athlete, thus balancing the composition. There is a washed-out photograph of a technician working on a computer motherboard, and an image of a start to a cross-country skiing race that was rotated ninety degrees to the left. There are brightly colored cafeteria trays, stacked bowls, plates, knives, forks, and spoons (also a rotated image) seen above. Down from the upper left corner is a band of bright orange-red color, with a puzzle pattern that runs across the composition almost to the middle of the image.


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


Close up of the Styria Studio printer's mark.

It is impossible to read and comprehend every part of the work, which is exactly the point. The images are used and combined with forms and colors to create a work of art that is both representational and abstract. It is the overall impression of the work that is important. Rauschenberg was not interested in creating reality, as he has stated: “Any incentive to paint is as good as any other. There is no poor subject. Painting is always strongest when in spite of composition, color, etc. it appears as a fact, or an inevitability, as opposed to a souvenir or arrangement. Painting relates to both art and life. …I try to act in that gap between the two.”

Original Lithograph "Proposal for a Civic Monument in the Form of Two Windows," 1982 by Claes Oldenburg


Proposal for a Civic Monument in the Form of Two Windows, 1982; Lithograph with water color on Arches Cover paper; Initialed CO and dated '82 in pencil bottom center and numbered 20/75 in pencil lower left; Published by Anthology Film Archives, NY; Printed by Maurice Sanchez, New York; Catalog Raisonne: Axsom & Platzker 179; Size - Sheet: 28" x 40", Unframed.

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

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 the image of the two windows and the surrounding landscape.

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 edition number, 20/75.


Close up of the initials CO (Claes Oldenburg) and the date '82

Oldenburg moved to Los Angeles, California in 1963. By 1965 he had turned his attention to drawings and projects for imagined outdoor monuments. This work, "Proposal for a Civic Monument in the Form of Two Windows" from 1982 is continuing his work that was begun back in 1965. By this time Oldenburg is at his height in his draftsman abilities, and his skill can be seen in this large format lithograph. The size of the windows is extraordinary, given the scale derived from the trees in the background and the people in the foreground. Although Oldenburg is most noted for his outdoor installations, this work showcases his immense artistic skill working in a 2-D medium.

"Eric Emerson (Chelsea Girls)," 1982 by Andy Warhol


Eric Emerson (Chelsea Girls), 1982; Screenprint in colors on Somerset Satin White Paper; Numbered 20/75 and signed Andy Warhol in pencil lower right; Published by Anthology Film Archives, New York; Printed by Porter-Wiener Studio, New York; Size - Sheet: 30" x 22"; Catalog Raisonne: Feldman/Schellmann: II.287; Unframed. 

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

Eric Emerson was an American musician, dancer, and actor; and was best known for his roles in films by pop artist Andy Warhol and as a member of the seminal glam punk group, The Magic Tramps. He was born on June 23, 1945 and grew up in New Jersey where he became trained as a classic ballet dancer. After seeing Emerson dancing at The Dom in April 1966, Andy Warhol asked Emerson to be in one of his underground films. Emerson made his film debut in the now famous 1967's Chelsea Girls, and soon became a Warhol Factory regular. Emerson would go on to star in other Warhol films; most notably, Lonesome Cowboys, San Diego Surf, and Heat.

Emerson began his musical career with the band, The Magic Tramps. The band, which began in Hollywood in 1969, relocated to New York City in 1971 after Eric joined as lead vocalist. The Magic Tramps played gigs at Max's Kansas City, a favorite hangout among the Warhol Factory regulars. In 1971 Emerson appeared in Jackie Curtis' play Vain Victory: Vicissitudes of the Damned, with Ondine, Holly Woodlawn, and Candy Darling; and with music by The Magic Tramps and Lou Reed.
Eric Emerson had two children and his first was a daughter, Erica born in 1967; that was a result of a long relationship with Elda Gentile a founding member of the band The Stilettoes. The two also had a son, Branch Emerson. In 1970 Eric began a relationship with model and actress Jane Forth, who appeared Warhol's films Women in Revolt, L'Amour, Trash, and Bad. Together, they had a son, Emerson Forth.



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

On May 28, 1975, Emerson's body was found next to his bicycle, near the West Side Highway, in Manhattan. Emerson's death is listed officially as a hit and run and to date, no one has been arrested or charged in connection with his death. Following a weekend-long wake hosted by Max's Kansas City owner Mickey Ruskin, Emerson was laid to rest in Wharton, New Jersey.

In the book Making Tracks, the famous musician Debbie Harry provided an account of the circumstances surrounding Emerson's death:

"One night we were over at Eric's apartment working on a tape of "Heart of Glass" on his Teac fourtrack tape recorder, when he suddenly staggered out of the kitchen looking ashen. He looked even more distraught and sad when we left. Being satisfied drove him crazy in the end, because he had everything so he didn't care about anything anymore. He used to go out jogging every day, and did feats of physical endurance like strapping twenty-pound weights to each ankle and then bicycling up to the Factory. The next day we were sitting around the house just after we woke up when Barbara called with the bad news. "Oh, Eric got hit by a truck." He had been a good friend and inspiration to so many people. We didn't quite understand what had happened, but we went up to a party/wake held for him and saw a lot of people from the earlier glitter days. Eric's death definitely marked an end to the glitter period. We still miss him."

This is a very rare original serigraph portrait of Eric Emerson by the great Pop Artist Andy Warhol derived from source material of a film clip from the Warhol movie "Chelsea Girls," 1966. The print was published in "A Portfolio of Thirteen Prints," containing works by thirteen different artists in order to commemorate the conversion of New York City's Second Avenue Court House into the new home of the Anthology Film Archives, the first museum dedicated to avant-garde film and video. The choice by Warhol to use a film clip of Eric Emerson from Warhol's own cult film was a brilliant decision.


Thursday, March 2, 2017

Ceramic Pitcher "Pichet têtes," 1953 by Pablo Picasso


Pichet têtes, 1953; White earthenware ceramic pitcher with black oxide and white glaze; From the edition of 500; Inscribed 'EDITION PICASSO' and 'MADOURA', with the 'MADOURA PLEIN FEU' and the 'EDITION PICASSO' pottery stamps on the underside; Size - Pichet têtes: 5 1/2" x 6" x 6"; Catalogue Raisonne: A.R. 221.


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.


Decorated spout side of the "Pichet têtes" ceramic pitcher by Pablo Picasso.


Decorated side of the "Pichet têtes" ceramic 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


Decorated handle side of the "Pichet têtes" ceramic pitcher by Pablo Picasso.


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

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.”

This is a large 5 1/2" x 6" x 6" original ceramic pitcher by Pablo Picasso. It features decoration throughout the piece: including the handle, top opening, spout, and 360 degrees around the side of the pitcher. The most prominent images are a pair of faun/satyr heads that occupy opposite sides of "Pichet têtes." The fauns are instantly recognizable as being from the hand of Picasso and these images were not only in his ceramics; but paintings, prints, sculptures, and drawings. An absolutely wonderful piece of original Pablo Picasso artwork!