Translate

Wednesday, March 29, 2017

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!

Thursday, January 26, 2017

"Flash-November 22, 1963, 1968," by Andy Warhol (Feldman/Schellmann: II.35)


Flash-November 22, 1963, 1968; Screenprint on wove paper, an unsigned proof apart from the signed edition of 200; Housed in original folder with a page of Teletype text; Published by Racolin Press, Inc., Briarcliff Manor, New York; Printed by Aetna Silkscreen Products, Inc., New York; Size - Sheet 21" x 21"; Catalog Raisonne: Feldman/Schellmann: II.35; Unframed.

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

John F. Kennedy’s assassination on November 22, 1963 shocked the nation and sent a wave of mourning across the country. Andy Warhol, who was just 35 years old, stated:

"I heard the news over the radio when I was alone painting in my studio. I don’t think I missed a stroke. I wanted to know what was going on out there, but that was the extent of my reaction. …  I’d been thrilled having Kennedy as president; he was handsome, young, smart–but it didn’t bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad. It seemed like no matter how hard you tried, you couldn’t get away from the thing…. John Quinn, the playwright … was moaning over and over, “But Jackie was the most glamorous First Lady we’ll every get.”"

Warhol immediately launched into a series of Jackie Kennedy portraits entitled “16 Jackies” that, in his typical fashion, expressed as he stated “detachment from emotions," an attitude he regarded as characteristic of the 1960s in general. Warhol often used tragic or horrific events that appeared in the media as source material for artwork. For Warhol, “the more you look at exactly the same thing, the more the meaning goes away and the better and emptier you feel.”

Andy Warhol would become obsessed, just like most of the world of the early 1960's, with the Kennedy assassination; and especially the media’s reporting and it's representation. The event and those involved, became the subject of creative output for Warhol throughout the 1960s. In 1966 Warhol created three prints focusing on Jacqueline Kennedy. The source of the images were either taken from the Dealey Plaza event or from JFK’s funeral service.

Two years later, Warhol returned to the same subject, but now focusing on the assassination itself. He created “Flash-November 23, 1963”, a portfolio of eleven individual prints. For source material, Warhol turned to the primary media of the time: newspaper articles, official government photographs, and portraits of President Kennedy and the First Lady. The 1968 portfolio was named for "News Flash," Teletype machine texts that were used to report the assassination of President John F. Kennedy in real time. The print portfolio box cover included an image of the November 22, 1963, New York World-Telegram front page, with the headline "President Shot Dead." Serigraphed actual Teletype texts were used as print folders for each individual work.


Page one of the original folder with Teletype text.

Andy Warhol used eleven different images, each created in bright bold colors to illustrate the horrific event. Some of the images are a smiling John F. Kennedy as he campaigns for the presidency, while another is a collage of Kennedy’s campaign images combined with that of a director’s clapboard. One print is the official Seal of the President of the United States, while another is the rifle advertisement for the suspected murder weapon. There is an image of the assassin Lee Harvey Oswald created in bright neon pink, an image of the Texas School Book Depository with an arrow pointing to a window on the sixth floor, and another with a centered image of a smiling Jackie wearing her iconic pillbox hat. In the eleven prints of "Flash-November 23, 1963," Andy Warhol created an extremely poignant, yet powerful glimpse into an American event that had been both covered extensively and exploited by the media. The underlying reality was that the hope of America for a better tomorrow was shattered in a flash; and the dream replaced by one of the saddest events of the twentieth century.


Page two of the original folder with Teletype text.

This work is composed of several images of a smiling John F. Kennedy, combined with text banners of Kennedy for President. The choice of the single red color that is screened both in mat and high gloss, significantly enhances the power of the images. A really spectacular work, from one of the greatest series of prints ever created by Andy Warhol!

The Teletype text printed on two pages of the print folders is below (Note: Misspelled words in the original text were not corrected nor was the original spacing):

-7-

   THE PRESIDENT WAS KILLED BY A BULLET THROUGH THE BRAIN FIRED AS HE RODE IN A MOTORCADE THROUGH DOWNTOWN DALLAS. TEXAS GOVERNOR JOHN B CONNALLY, J4., RIDING IN THE SAME CAR, WAS SHOT IN THE CHEST, RIBS AND ARM. HIS CONDITION WAS DESCRIBED AS XXX SERIOUS, BUT NOT CRITICAL.

   VICE PRESIDENT LYNDON BAINES JOHNSON, RIDING THREE CARS BACK, WAS UNINJURED. MR. JOHNSON WAS SWORN IN AS THE 36TH PRESIDENT OF THE UNITED STATES 99 MINUTES AFTER XXXX MR. KENNEDY WAS PRONOUNCED DEAD AT 1:00 P.M. (CST). MR. JOHNSON IS 55 YEARS OLD; MR. KENNEDY WAS 46. 

   SHORTLY AFTER 2 P.M. DALLAS POLICE ANNOUNCED THEY HAD ARRESTED A "HOT SUSPECT " IN THE ASSASSINATION. HE WAS IDENTIFIED A LEE HARVEY OSWALD, 24, WHO IS EMPLOYED AS THE TEXAS BOOK DEPOSITORY, ADJACENT TO THE MURDER SCENE. OWALD, WHO FORMERLY LIVED IN THE SOVIET UNIOJ, WAS ARRESTED IN CONNECTION WITH THE SALYING OF J. B. TIPPIT, A X DALLAS PATROLMAN, SHORTLY AFTER PRESIDENT KENNEDY WAS KILLED.

   THE PRESIDENT WAS STRUCK DOWN AS HE RODE IN AN OPEN CAR XXXX ON HIS WAY TO THE DALLAS TRADE MART, WHERE HE WAS TO DELIVER A SPEECH TO A GROUP OF THE CITY'S LEADING CITIZENS. HE HAD ARRIVED IN DALLAS FROM FORT WORTH AT 11:37 A.M. (CST) TODAY.

-8-

   THE THREE SHOTS RANG OUT IN QUICK SUCCESSION AT 12:20 P.M.(CST). JUST AS THE PRESIDENT'S CAR WAS APPROACHING A TRIPLE OVERPASS. MR. KENNEDY, WHO WAS WAVING AT THE THINNED OUT CROWDS, CLUTCHED AT HIS THROAT AND TOPPLED OVER ONTO THE X LAP OF HIS WIFE, WHO JUMPED UP AND SHOUTED. "OH, NO!" SECRET SERVICE AGENT CLINT HILL LEAPED ONTO THE BACK OF THE PRESIDENT'S CAR AND ORDERED THE DRIVER TO SPEED AHEAD TO PARKLAND HOSPITAL, THREE AND HALF MILES DOWN THE ROAD.

   ARRIVING AT THE HOSPITAL, MR. KENNEDY AND GOV. CONNALLY, WHO WAS ALSO BEING HELD BY HIS WIFE, WERE RUSED INTO EMERGENCY ROOMS. SOON AFTER THEIR ARRIVAL, WOT PRIESTS WERE SUMMONED TO PRESIDENT KENNEDY'S SIDE. ON LEAVING THE EMERGENCY ROOM, THE PRIESTX REPORTED THAT THE PRESIDENT HAD DIED OF HIS WOUNDS. WHITE HOUSE AIDES, AT FIRST UNCERTAIN, CONFIRMED THE REPORT AT 1:33 P.M. (CST). 
EJ1155PCS

   WASHINGTON, NOV. 22 -- FOLLOWING IS THE TEXT OF A STATEMENT BY PRESIDENT LLYNDON BAINES JOHNSON ON ARRIVAL AT ANDREWS AIR FORCE BASE IN THE PLANE CARRYING THE BODY OF PRESIDENT JOHN F. KENNEDY:
   "THIS IS A SAD TIME FOR ALL PEOPLE. WE HAVE SUFFERED A LOSS THAT CANNOT BE WEIGHE. FOR ME IT IS A DEEP PERSONAL TRAGEDY. I KNOW THE WORLD SHARES THE SORROW THAT MRS. KENNEDY AND HERXX FAMILY BEAR. I WILL DO MY BEST. THAT IS ALL I CAN DO. I ASK FOR YOUR HELP -- AND XXXX GOD'S."
LG61OPCS

"Foot Medication Poster," 1963; Lithograph by Roy Lichtenstein


Foot Medication Poster, 1963; Lithograph on off-white wove paper; Signed Roy Lichtenstein 53/100 in pencil lower left; "Roy Lichtenstein, FOOT MEDICATION, 1963." printed lower right; Published by Leo Castelli Gallery, New York; Size - Sheet 23" x 16 3/4", Image 15 1/2" x 15 1/2", Mat 30 x 24"; Single matted; Catalog Raisonne: Corlett: App. 3.

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

"Drawing is the basis of my art. It is where my thinking takes place." - Roy Lichtenstein

Between 1961 and 1968 during the height of the Pop art movement, Roy Lichtenstein created about fifty large black-and-white drawings. The source of the imagery was derived from consumer pop culture, and included such banal objects as baked potatoes, commercial advertisements (including foot medication), and BB guns. The drawings were created to be reminiscent of cheap printed commercial illustrations, and were conceived and created completely independently from paintings of the same time period.


Close up of the image of "Foot Medication Poster," 1963.

Foot Medication Poster was created to advertise an artist group drawing show at Leo Castelli Gallery from May 20 - June 30, 1963. Printed in large type in the bottom margin of the poster was the following:

Drawings
Lee Bontecou * Nassos Daphnis * Jasper Johns
Roy Lichtenstein * Robert Moskowitz
Robert Rauschenberg * Frank Stella
Jack Tworkov * Gerald van de Wiele
Saturday May 18th through June 1963 * Leo Castelli * 4 East 77

The image used for the poster was one of Roy Lichtenstein's drawings that was included in the exhibition, "Foot Medication" (Bianchini 1971, no. 62.2). Some of the posters were printed without the exhibition text and 100 of those were hand signed and numbered by Roy Lichtenstein. It is this signed and numbered edition that is the most rare and desired by both collectors and museums (The Museum of Modern Art, NY has a signed and numbered impression in their permanent collection).


Close up of the Roy Lichtenstein hand signature and the edition number.


Close up of the printed artist name, title, and date for "Foot Medication Poster," 1963.

Roy Lichtenstein's series of paintings from 1973-74 entitled Artist's Studios, marked the beginning of the integration of his own artworks back into his paintings. The series was inspired by Henri Matisse's paintings Red Studio and Pink Studio, both from 1911. The works contain specific Matisse imagery, fruit and foliage from his still lifes, and his famed dancers; all re-purposed back into an interior studio still life. Lichtenstein repurposed Matisse's idea, but with a modern format.


Artist's Studio "Foot Medication", 1974
Oil and Magna on canvas
243.8 x 325.1 cm (96 x 128 in.)
Gift of Edlis Neeson Collection, 2015.131

In this wonderful and large canvas entitled: Artist's Studio "Foot Medication", 1974, (Chicago Institute of Art) Lichtenstein created a room interior that is populated with his own paintings. The most prominent painting in the room is "Foot Medication" hanging in the upper left of the composition, directly above a radiator.


Matted "Foot Medication Poster," 1963.

This is a rare and important work by Roy Lichtenstein, and it is an image that he would use and rework for decades. The image of "Foot Medication" is that of a hand dabbing medication onto the top of a foot using a cotton ball. A large benday dot image from the early 1960's, from the most collected time period in the Pop Art movement. A great addition to any art collection!

Sunday, January 15, 2017

"Flash-November 22, 1963, 1968," by Andy Warhol (Feldman/Schellmann: II.42)


Flash-November 22, 1963, 1968; Screenprint on wove paper, an unsigned proof apart from the signed edition of 200; Housed in original folder with a page of Teletype text; Published by Racolin Press, Inc., Briarcliff Manor, New York; Printed by Aetna Silkscreen Products, Inc., New York; Size - Sheet 21" x 21"; Catalog Raisonne: Feldman/Schellmann: II.42; Unframed.

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

John F. Kennedy’s assassination on November 22, 1963 shocked the nation and sent a wave of mourning across the country. Andy Warhol, who was just 35 years old, stated:

"I heard the news over the radio when I was alone painting in my studio. I don’t think I missed a stroke. I wanted to know what was going on out there, but that was the extent of my reaction. …  I’d been thrilled having Kennedy as president; he was handsome, young, smart–but it didn’t bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad. It seemed like no matter how hard you tried, you couldn’t get away from the thing…. John Quinn, the playwright … was moaning over and over, “But Jackie was the most glamorous First Lady we’ll every get.”"

Warhol immediately launched into a series of Jackie Kennedy portraits entitled “16 Jackies” that, in his typical fashion, expressed as he stated “detachment from emotions," an attitude he regarded as characteristic of the 1960s in general. Warhol often used tragic or horrific events that appeared in the media as source material for artwork. For Warhol, “the more you look at exactly the same thing, the more the meaning goes away and the better and emptier you feel.”

Andy Warhol would become obsessed, just like most of the world of the early 1960's, with the Kennedy assassination; and especially the media’s reporting and it's representation. The event and those involved, became the subject of creative output for Warhol throughout the 1960s. In 1966 Warhol created three prints focusing on Jacqueline Kennedy. The source of the images were either taken from the Dealey Plaza event or from JFK’s funeral service.

Two years later, Warhol returned to the same subject, but now focusing on the assassination itself. He created “Flash-November 23, 1963”, a portfolio of eleven individual prints. For source material, Warhol turned to the primary media of the time: newspaper articles, official government photographs, and portraits of President Kennedy and the First Lady. The 1968 portfolio was named for "News Flash," Teletype machine texts that were used to report the assassination of President John F. Kennedy in real time. The print portfolio box cover included an image of the November 22, 1963, New York World-Telegram front page, with the headline "President Shot Dead." Serigraphed actual Teletype texts were used as print folders for each individual work.


Page one of the original folder with Teletype text.

Andy Warhol used eleven different images, each created in bright bold colors to illustrate the horrific event. Some of the images are a smiling John F. Kennedy as he campaigns for the presidency, while another is a collage of Kennedy’s campaign images combined with that of a director’s clapboard. One print is the official Seal of the President of the United States, while another is the rifle advertisement for the suspected murder weapon. There is an image of the assassin Lee Harvey Oswald created in bright neon pink, an image of the Texas School Book Depository with an arrow pointing to a window on the sixth floor, and another with a centered image of a smiling Jackie wearing her iconic pillbox hat. In the eleven prints of "Flash-November 23, 1963," Andy Warhol created an extremely poignant, yet powerful glimpse into an American event that had been both covered extensively and exploited by the media. The underlying reality was that the hope of America for a better tomorrow was shattered in a flash; and the dream replaced by one of the saddest events of the twentieth century.


Page two of the original folder with Teletype text.

This work is composed of a pair of mirror images of a smiling John F. Kennedy, combined with text banners of Kennedy for President. The choice of colors (red and blue) creates an optical effect, which significantly enhances the power of the images. A really spectacular work, from one of the greatest series of prints ever created by Andy Warhol!

The Teletype text printed on two pages of the print folders is below (Note: Misspelled words in the original text were not corrected nor was the original spacing):

-13-

   BULLETIN 2ND LEAD OSWALD
   DALLAS, NOV. 24 -- LEE HARVEY OSWALD, ACCUSED SLAYER OF PRESIDENT JOHN F. KENNEDY, DIED TODAY IN PARKLAND HOSPITAL, WHERE THE LATE PRESIDENT WAS PRONOUNCED DEAD XXXX TWO DAYS AGO.

   WASHINGTON, NOV X 24 -- AS GREAT LINES OF PEOPLE FILED PAST THE BIER OF PRESIDENT JOHN F. KENNEDY -- LONG PAST THE SCHEDULED 9:00 P.M. CLOSING TIME -- MRS. JACQUELINE KENNEDY AN HER XXX BOROTHER-IN-LAW, ATTORNEY XXXXX GENERAL ROBERT F. KENNEDY, RETURNED TO THE CAPTIAL ROTUNDA TONIGHT.

   MRS. KENNEDY WALKED THROUGH THE HUGE THRONG, PAUSED FOR A MOMENT IN FRONT OF THEX CATAFALQUE AND THEN LEFT. ON HER WAY OUT, SHE PAUSED AGAIN AND STARED AT THE XXXXX HUSHED THRONG. THEN SHE AND THE ATTORNEY GENERAL WALKED DOWN CAPITOL HILL AND ACROSS A LAWN TO A WAITING LIMOUSINE.
CY1105PES


FOURTH DAY

  WASHINGTON, NOV. 23 -- PRESIDENT JOHN FITZGERALD KENNEDY WAS BURIED TODAY IN ARLINGTON NATIONAL CEMETERY.
   THE XXX SLAIN PRESIDENT WAS LAID TO REST AT 3:34 P.M. (EST) ON A GRASSY SLOPE WITHIN VIEW OF THE LINCOLN MEMORIAL AND THE CAPITOL.

-14-

   MR. KENNEDY'S BODY, WHICH HAD BEEN CARRIED FROM THE CAPITAL ROTUNDA THIS MORNING WAS XXXX TAKEN FIRST TO ST. MATTHEW'S ROMAN CATHOLIC CATHEDRAL, WHERE A PONTIFICAL XXX REQUIEM MASS WAS SAID BY RICHARD CARDINAL CUSHING OF BOSTON. FROM THERE, THE CORTEGE PROCEEDED TO THE NATIONAL CEMETERY, WHERE CARDINAL CUSHING INTOLED THE ANTIENT LATIN PHRASES AND REFERRED TO THE ASSASSINATED PRESIDENT AS "THIS WONDERFUL MAN, JACK KENNEDY."

   THE DAY STARTED AT 10:41 A.M., WHEN MRS. JACQUELINE KENNEDY, ACCOMPANIED BY ATTORNEY GENERAL ROBERT F. KENNEDY AND SENATOR EDWARD XXX M. KENNEDY, ENTERED THE ROTUNDA AND KNELT FOR A MOMENT BESIDE THE SLAIN PRESIDENT'S CASKET. EIGHT XX PALLBEARERS THEN CARRIED THE CASKET DOWN THE CAPITOL STEPS THROUGH LINES OF SENTINELS FROM ALL ARMED SERVICES, AND PLACED IT ON THE CASSON THAT HAD BROUGHT IT TO THE CAPITOL ON SUNDAY. SIX GRAY HORSES PULLED THE CAISSON, FOLLOWED BY A SAILOR CARRYING THE PRESIDENTIAL FLAG AND A RIDERLESS HORSE, WITH BOOTS REVERSED IN THE STIRRUPS, TO SIGNIFY THE LOSS OF A LEADER.

   THE PROCESSION MOVED PAST THE WHITE HOUSE, WHERE WORLD LEADERS WHO HAD COME TO WASHINGTON FOR THE FUNERAL, WAITED XX FOR MRS. KENNEDY TO COME OUT OF THE WHITEHOUSE AND THEN FELL INTO LINE BEHIND THE CORTEGE. ABOUT FIVE YARDS BEHIND THE KENNEDY FAMILY WERE PRESIDENT AND MRS. JOHNSON, WHO WERE SURROUNDED BY SECURITY AGENTS.

Wednesday, January 4, 2017

"Flash-November 22, 1963, 1968," by Andy Warhol (Feldman/Schellmann: II.34)


Flash-November 22, 1963, 1968; Screenprint on wove paper, an unsigned proof apart from the signed edition of 200; Housed in original folder with a page of Teletype text; Published by Racolin Press, Inc., Briarcliff Manor, New York; Printed by Aetna Silkscreen Products, Inc., New York; Size - Sheet 21" x 21"; Catalog Raisonne: Feldman/Schellmann: II.34; Unframed.

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

John F. Kennedy’s assassination on November 22, 1963 shocked the nation and sent a wave of mourning across the country. Andy Warhol, who was just 35 years old, stated:

"I heard the news over the radio when I was alone painting in my studio. I don’t think I missed a stroke. I wanted to know what was going on out there, but that was the extent of my reaction. …  I’d been thrilled having Kennedy as president; he was handsome, young, smart–but it didn’t bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad. It seemed like no matter how hard you tried, you couldn’t get away from the thing…. John Quinn, the playwright … was moaning over and over, “But Jackie was the most glamorous First Lady we’ll every get.”"

Warhol immediately launched into a series of Jackie Kennedy portraits entitled “16 Jackies” that, in his typical fashion, expressed as he stated “detachment from emotions," an attitude he regarded as characteristic of the 1960s in general. Warhol often used tragic or horrific events that appeared in the media as source material for artwork. For Warhol, “the more you look at exactly the same thing, the more the meaning goes away and the better and emptier you feel.”

Andy Warhol would become obsessed, just like most of the world of the early 1960's, with the Kennedy assassination; and especially the media’s reporting and it's representation. The event and those involved, became the subject of creative output for Warhol throughout the 1960s. In 1966 Warhol created three prints focusing on Jacqueline Kennedy. The source of the images were either taken from the Dealey Plaza event or from JFK’s funeral service.

Two years later, Warhol returned to the same subject, but now focusing on the assassination itself. He created “Flash-November 23, 1963”, a portfolio of eleven individual prints. For source material, Warhol turned to the primary media of the time: newspaper articles, official government photographs, and portraits of President Kennedy and the First Lady. The 1968 portfolio was named for "News Flash," Teletype machine texts that were used to report the assassination of President John F. Kennedy in real time. The print portfolio box cover included an image of the November 22, 1963, New York World-Telegram front page, with the headline "President Shot Dead." Serigraphed actual Teletype texts were used as print folders for each individual work.


Page one of the original folder with Teletype text.

Andy Warhol used eleven different images, each created in bright bold colors to illustrate the horrific event. Some of the images are a smiling John F. Kennedy as he campaigns for the presidency, while another is a collage of Kennedy’s campaign images combined with that of a director’s clapboard. One print is the official Seal of the President of the United States, while another is the rifle advertisement for the suspected murder weapon. There is an image of the assassin Lee Harvey Oswald created in bright neon pink, an image of the Texas School Book Depository with an arrow pointing to a window on the sixth floor, and another with a centered image of a smiling Jackie wearing her iconic pillbox hat. In the eleven prints of "Flash-November 23, 1963," Andy Warhol created an extremely poignant, yet powerful glimpse into an American event that had been both covered extensively and exploited by the media. The underlying reality was that the hope of America for a better tomorrow was shattered in a flash; and the dream replaced by one of the saddest events of the twentieth century.


Page two of the original folder with Teletype text.

This work, a centered image of a smiling First Lady Jackie Kennedy wearing her iconic pillbox hat, is certainly one the highlights of the entire portfolio. The print was created using shades of peacock blue, which add to the overall richness of the composition. A really spectacular work, from one of the greatest series of prints ever created by Andy Warhol!

The Teletype text printed on two pages of the print folders is below (Note: Misspelled words in the original text were not corrected nor was the original spacing):

-5-

   WASHINGTON, NOV. 22 -- AN AIR FORCE JET CARRYING SIX CABINET MEMBERS TO CONFERENCES IN TOKYO TURNED BACK TO WASHINGTON AFTER RECEIVING NEWS OF THE ASSASSINATION, THE STATE DEPARTMENT ANNOUNCED. THE PLANE IS EXPECTED IN WASHINGTON AT 1 A.M. (EST) TOMORROW. 
GD23OPCS

   FLASH
   DALLAS -- POLICE ARREST "HOT SUSPECT".

   BULLETIN 1ST LEAD SUSPECT
   DALLAS, NOV. 22 --  DALLAS POLICE ANNOUNCED THEY HAVE ARRESTED A "HOT SUSPECT" IN THE ASSASSINATION OF PRESIDENT KENNEDY.
   HE WAS IDENTIFIED AS LEE H. OSWALD, 24, AN EMPLOYEE OF THE TEXAS BOOK DEPOSITORY, ADJACENT TO THE SITE WHERE THE PRESIDENT WAS SHOT DOWN. OSWALD, WHO HAD BEEN ARRESTED EARLIER IN CONNECTION WITH THE SHOOTING OF A DALLAS POLICEMAN, FORMERLY IVED IN THE SOVIET UNION AND WAS ACTIVE IN THE FAIR PLAY FOR CUBA COMMITTEE.
KT21OPCS

   BULLETIN
   DALLAS, NOV. 22 -- LYNDON BAINES JOHNSON WA SWORN IN AS THE 36TH PRESIDENT OF THE UNITED STATES AT 2:39P.M.(CST) ABOARD THE PRESIDENTIAL JET AIR FORCE ONE ON A RUNWAY AT LOVE FIELD.

-6-

   THE CEREMONY TOOK PLACE WITHIN MOMENTS AFTER THE COFFIN CONTAINING THE BODY OF SLAIN PRESIDENT JOHN F. KENNEDY WAS LOADED ABOARD THE PLANE. MRS. JOHNSON, MRS. KENNEDY AND A GROUP OF WHITE HOUSE AIDES ATTENDED THE OATH-TAKING, WHICH WAS ADMINISTERED BY FEDERAL JUDGE SARAH T. HUGHES, WHO WAS APPOINTED TO OFFICE BY PRESIDENT KENNEDY IN OCTOBER, 1961.
KT25OPCS
   WASHINGTON, NOV. 22 -- THE XXXX AIR FORCE JET CARRYING PRESIDENT LYNDON B. JOHNSON AND THE BODY OF ASSASSINATED PRESIDENT JOHN F. KENNEDY LANDED AT ANDREWS AIR FORCE BASE SHORTLY AFTER 6 P.M. (EST).
   THE PLANE WAS MET BY AN HONOR GUARD OF AIRMEN IN DRESS UNIFORM, WITH RIFLES AND BAYONETS, AND BY HIGH-RANKING GOVERNMENT OFFICIALS.
   AS SOON AS THE PLANES ENGINES STOPPED, ATTORNEY GENERAL ROBERT F. KENNEDY, THE SLAIN PRESIDENT'S BROTHER, BOUNDED UP THE STEPS AND INTOTHE CABIN. WITHIN A FEW MINUTES, HE REAPPEARED AT THE DOORWAY WITH MRS. JACQUELINE KENNEDY AND THE TWO WATCHED, HAND IN HAND, AS THE COFFIN WAS LOWERED TO A WAITING NAVAL AMBULANCE, TO BE TAKEN TO BETHESDA NAVAL HOSPITAL.
   MRS. KENNEDY, HERX DRESS AND STOCKINGS STILL SMEARED WITH HERX HUSBAND'S BLOOD, APPEARED COMPOSED. SHE RODE IN THE AMBULACE TO THE HOSPITAL.
CD515PCS

   NITE LEAD KENNEDY