Black Bean Campbell's Soup, 1968 by Andy Warhol

 

Black Bean Campbell's Soup; Serigraph, 1968, on smooth wove paper, signed in ball-point pen Andy Warhol and stamp-numbered 173/250 in ink verso; published by Factory Additions, New York; Size - Sheet 35" x 23", Frame 43 1/2" x 31 1/2"; Framed with an acid free white mat, white wood frame, and plexiglass; Catalog Raisonne: Feldman/Schellmann: II.44.

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

 

Warhol said of Campbell’s soup, “I used to drink it. I used to have the same lunch every day, for 20 years, I guess, the same thing over and over again.”

 

In 1962, which heralded the arrival of Pop Art as an artistic movement, Andy Warhol began his transition from hand painting to the production of photo-transferred art. Warhol was always searching and asking friends for suggestions on subject matter, and an acquaintance suggested he paint something that everybody recognized, "like Campbell's Soup." Warhol appropriated the idea literally and the resulting soup can projections were traced onto canvas and then meticulously hand-painted. The result appeared both uniform and mechanical, but the thirty two different hand painted flavors of soup showed subtle variations and imperfections, thereby elevating the the subject matter resulting in the production of the high art ready-made and creating a masterpiece of early Pop Art. 

The set of thirty two canvas soup cans were first exhibited by art dealer Irving Blum at his Ferus Gallery in Los Angeles. The paintings were arranged on grocery store shelves. The Campbell's Soup Cans caused a sensation in the art world with their banal mundanity and their mirror of commercialism. A dealer in a nearby Gallery even sold actual soup cans touting them as cheaper than a Warhol.

 

 

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

Blum did manage to sell several of the individual soup cans, including one to his friend the actor Dennis Hopper; but decided that the set should stay together, so he bought the paintings back, and paid Andy for the entire set ($1000 paid over 10 months for all 32 paintings). After Warhol's death, Irving Blum would sell the entire set to New York's Museum of Modern Art for $15 million.

 

 

Verso of Black Bean Campbell's Soup, 1968 by Andy Warhol.

Irving Blum, by preserving Campbell's Soup Cans was critical to the success of the work and as Sara McCorquodale stated in 2015, "The work seemed to speak of the spirit of the spirit of a new America, one that thoroughly embraced the consumer culture of the new decade. Before the end of the year Campbell's Soup Cans was so on-trend that Manhattan socialites were wearing soup can printed dresses to high-society events." The success of Campbell's Soup Cans also marked a turning point of Warhol's working process, as he turned completely towards utilizing silkscreens for both painting and printing. He continued to use the Campbell's soup can as subject matter and in 1968 he would reinterpret his famous work as Campbell's Soup I, a portfolio of ten signed and numbered serigraphs. By utilizing silkscreens, Warhol was able to achieve the mechanized (factory) look that he desired, thereby fulfilling his desire to "be a machine." Each soup can in the suite of ten would be identical varying only by their flavor: Black Bean, Chicken Noodle, Tomato, Onion (Made with Beef Stock), Vegetable (Made with Beef Stock), Beef (With Vegetables and Barley), Green Pea, Pepper Pot, Consumme (Beef) Gelatin Added, and Cream of Mushroom. The soup can prints would become the greatest of his graphic oeuvre, and forever be instantly recognized as quintessential Warhol.

Framed Black Bean Campbell's Soup, 1968 by Andy Warhol. 

 

Black Bean Campbell's Soup, 1968 by Andy Warhol is an absolutely fantastic work by the great Pop artist and would be a wonderful addition to any art collection!

#Warhol #AndyWarhol #PopArt #WarholFoundation #blackbean #tomatosoup #untitledartgallery #campbells #campbellssoup #soupcan #CampbellSoupCans #IrvingBlum #FerusGallery #Warholsoupcan #signedWarhol #signedandnumbered

Cobalt Macchia with Huckleberry Lip Wrap, 2012 by Dale Chihuly

 

Monumental Cobalt Macchia with Huckleberry Lip Wrap, 2012; Free blown, flared form with undulating rim, dappled with shades of green and  yellow with a cobalt blue interior and huckleberry lip wrap; Engraved Chihuly 12; Provenance: Estate of Richard L. Weisman, Beverly Hills, CA; Size: 19 1/2 x 35 x 33 1/2".

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

"My work, to this day revolves around a simple set of circumstances: fire, molten glass, human breath, spontaneity, centrifugal force, gravity." - Dale Chihuly

Dale Chihuly was born on September 20, 1941 and is an American glass sculptor. His works are considered to be exceptional in the field of blown glass; and he has adapted the technical difficulties of the medium to explore and implement installations, as well as environment specific artwork.

Chihuly first began experimenting with glass blowing in 1965 and began an extensive education centered around sculpture. He earned a Master of Fine Arts degree in sculpture from the Rhode Island School of Design in 1968; and that same year was awarded a Louis Comfort Tiffany Foundation grant for his work in glass, as well as a Fulbright Fellowship. He traveled to Venice to work at the Venini factory on the island of Murano, where he first saw the team approach to glass blowing. In 1976, while in England, he was involved in a head-on-car crash which propelled him through the windshield. His face was severely cut by glass and he was permanently blinded in his left eye. After recovering, he continued to blow glass until he dislocated his right shoulder in 1979 while body surfing.

No longer able to hold a glassblowing pipe, he was able to utilize the team approach to glass blowing he had seen in Murano, and hired other artists to do the physical work. Chihuly explained the change saying, "Once I stepped back, I liked the view." He felt liberated and more free to see the work from multiple perspectives, and the change enabled him to anticipate problems earlier and to react. His role in the studio changed from participate, to supervisor and problem solver. One of the most critically acclaimed series by Chihuly was the Macchia series. Macchia, which is Italian for spot, was begun in 1981 and continues today.

 

As Chihuly has explained:

"The Macchia series began with my waking up one day wanting to use all three hundred of the colors in the hot shop. I started by making up a color chart with one color for the interior, another color for the exterior, and contrasting color for the lip wrap, along with various jimmies and dusts of pigment between the layers of glass. Throughout the blowing process, colors were added, layer upon layer. Each piece was another experiment. When we unloaded the ovens in the morning, there was the rush of seeing something I had never seen before. Like much of my work, the series inspired itself. The unbelievable combination of color - that was the driving force."

From Timothy Anglin Burgard, Chihuly the Artist: Breathing Live into Glass, 2008:

(The Macchia) Often balanced slightly off-center, they attempt to capture the essence of glass in its most volatile sate - simultaneously hot and flowing, but also cool and congealing. The blurred edges of the color striations and "spots" suggest that they are being dissolved by heat or have coalesced into opal-like mineral deposits. Chihuly's "lip wraps," think ribbons of colored glass that run along the vessel's lip suggest the presence of a super-heated inner core and recall the leading edge of a lava flow, breaking through the congealing perimeter of a magma mass. - Chihuly's Macchia are permanently aglow with the fires of their creation."
 

 

The following are various views of Cobalt Macchia with Huckleberry Lip Wrap, 2012 by Dale Chihuly:

From Robert Hobbs, The Rhoda Thalhimer Endowed Professor of American Art History, Virgina Commonwealth University: 

"In the Macchia, Chihuly makes this former (Classic Venetian blown glass) static orientation dynamic and enlarges this conservative scale to awesome proportions. He heightens tensions between inside and outside through dissonant color combinations and through contrasts of opacity, translucency, and transparency. Rather than continuing the preciousness of the filigree of the Bianconi examples, he creates a bolder impact by rolling ships of colored glass into the walls of the vessel for a mottled effect."

Chihuly and his team of artists have been the subjects of several documentaries, extensive printed articles, monographs, and collections. For a complete list of Museum collections, please click on the link below:

Dale Chihuly Museum Collections

 

Engraved Chihuly signature and 2012 date.

"Cobalt Macchia with Huckleberry Lip Wrap," 2012 is an exceptional example of Dale Chihuly at his best. This monumental Macchia is composed of cobalt blue as the dominant interior color, green and yellow spots are set against the blue interior ground, and finished with a contrasting huckleberry colored lip. An absolutely stunning and massive piece of modern glass by the most important glass artist of his time, and a standout of any art collection!

#Chihuly #DaleChihuly #Artglass #Blownglass #Macchia #glass #Art #artist #untitledartgallery #MacchiaSeries

Red Open with White Line, 1979 by Robert Motherwell

Red Open with White Line, 1979; Etching and aquatint in red and black, on Georges Duchêne Hawthorne of Larroque handmade paper; Initialed in ink, numbered 46/56 lower left; Published by the artist, with his blindstamp lower right; Catalogue Raisonne: Belknap 207; Size -  Sheet: 18 x 35 1/2", Frame 27 x 46"; Framed floated with an acid free mat, wood frame, and plexiglass; Exhibited: Williams College Museum of Art, Williamstown, MA - Museum of Fine Arts, Boston MA, May 5 - October 14, 1984; The Modern Art of the Print: Selections from the Collection of Lois and Michael Torf, pl. XLIII, p. 118 (illustrated).

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

Robert Motherwell (1915 – 1991) was an American painter, print maker, writer, and editor. He was one of the youngest of the New York School (a term he coined), which also included the artists Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko.

Motherwell was the most educated of all of the abstract expressionist. He was from a well educated and wealthy family, and received a BA in philosophy from Stanford University. It was at Stanford that Motherwell was introduced to modernism through his extensive reading of symbolist and other literature, especially Mallarmé, James Joyce, Edgar Allan Poe, and Octavio Paz. Literary reference became a major theme of his later paintings and drawings. However, his father urged him to pursue a more secure career and Motherwell states that the reason he went to Harvard was because he wanted to be a painter: "And finally after months of really a cold war he made a very generous agreement with me that if I would get a Ph.D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then—it was actually the last year—Harvard still had the best philosophy school in the world. And since I had taken my degree at Stanford in philosophy, and since he didn't care what the Ph.D. was in, I went on to Harvard."

However, it was in 1940 that Motherwell would make an important decision. He moved to New York to study at Columbia University, where he was encouraged by the great critic/writer Meyer Schapiro to devote himself to painting rather than scholarship. Shapiro introduced the young artist to a group of exiled Parisian Surrealists including Max Ernst, Duchamp, and Andre Masson; and arranged for Motherwell to study with the Swiss artist Kurt Seligmann.

Matta introduced Motherwell to the concept of “automatic” drawings. Wolfgang Paalen would also have a profound impact on Motherwell, and his resulting drawings showed more plane graphic cadences and swelling ink-spots that referenced possible figurations. Motherwell would pass this information onto American painters such as Jackson Pollock, Lee Krasner, and William Baziotes; whom Motherwell befriended in New York shortly after a trip to Mexico. In 1991, shortly before he died, Motherwell remembered a "conspiracy of silence" regarding Paalen´s innovative role to the genesis of Abstract Expressionism and to the New York School.

Close up of the initials and the edition number.

Robert Motherwell: "What I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association—because I also had a psychoanalytic background and I understood the implications—might be the best chance to really make something entirely new which everybody agreed was the thing to do."

In 1942 Motherwell began to exhibit his work in New York and in 1944 had his first one-man show at Peggy Guggenheim’s “Art of This Century” gallery. Also in 1944 MoMA became the first museum to purchase one of his works. From the mid-1940s, Motherwell was the leading spokesman for avant-garde art in America, and his circle of friends included William Baziotes, David Hare, Barnett Newman, and Mark Rothko.

Throughout the 1950s Motherwell taught painting at Hunter College in New York and at Black Mountain College in North Carolina where his students included Cy Twombly, Robert Rauschenberg, and Kenneth Noland. During this time, he was a prolific writer and lecturer, directed the influential Documents of Modern Art Series, and edited The Dada Painters and Poets: An Anthology, published in 1951. Also, during the 1950's Motherwell's collages began to incorporate material from his studio such as cigarette packets and labels that would become records of his daily life. He was married from 1958 to 1971, to Helen Frankenthaler, a successful abstract painter in her own right.

Framed Red Open with White Line, 1979.

Robert Motherwell made his first prints in 1943 and returned to printmaking in the early 1960s at the invitation of the ULAE print studio. His later work with Tyler Graphics, Gemini G.E.L., and printers working in his own studio, evolved into an impressive body of nearly 460 prints influencing countless artists with his innovative ideas and printmaking techniques. The bulk of his work is comprised of gestural images (Elegies), a few are linear compositions (Opens), and a considerable number of prints that contain some element of collage.

 

Red Open with White Line is composed of a luminous field of red color that is interrupted by a subtle thin black line etched double rectangle, that hangs precariously from the upper right edge. The deeply bitten aquatint printed on the rough textured surface of the handmade paper results in a powerful intense saturation of hue, on a very rich modulated color field. The minimalist structure on a field of serenity is part of the "Open" repertoire by Motherwell that begun in 1967. The rectangle within a rectangle is the recurring theme of the "Opens" that suggests a window within a wall. The vast expansive quality of the red field runs in three directions but is arrested by the white line on the left margin edge. This is a wonderful example of Motherwell at his best, a great example of his brilliant use of color and form, and would be a great addition to any fine art collection.

 #abstractexpressionism #RobertMotherwell #Motherwell #OpenSeries #Belknap #RedOpenwithWhiteLine #untitledartgallery #handmadepape  #aquatint #ULAE #GeminiGEL

Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 by Robert Mapplethorpe

Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973; Silver print from Polaroid negative, with adhesive dot; Robert Mapplethorpe blind-stamp lower edge, Signed Robert Mapplethorpe and dated 73 in black ink verso; With original Polaroid sleeve; Size - 3 x 3 3/4", Sheet 3 1/2 x 4 1/2", Frame 21 3/4 x 16 3/4"; Framed using a black wood frame, acid free mats, and UV conservation clear glass.

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

"I'm looking for things I've never seen before. But I have trouble with the word 'shocking' because I'm not really shocked by anything... Basically, I'm selfish. I did (those photos) for myself- because I wanted to do them, because I wanted to see them. I wasn't trying to educate anyone. I was interested in examining my own reactions." - Robert Mapplethorpe

Robert Michael Mapplethorpe (1946-1989) was an American photographer most known for his black and white photographs featuring an array of subjects including: celebrity portraits, male and female nudes, self-portraits, and sill-life images. His most controversial works documented and examined the homosexual BDSM subculture of New York City in the late 1960's and early 1970's. A 1989 museum exhibition of his works, entitled Robert Mapplethorpe: The Perfect Moment, sparked debate and outrage concerning the use of public funds for what was deemed by some as "obscene" artwork. There was public discord surrounding the US Constitutional limits of free speech, and what was deemed to be art.

 

Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 by Robert Mapplethorpe

 

Close up of the Robert Mapplethorpe blind-stamp

Robert Mapplethorpe signature and dated 73 in black ink verso

 

Close up of the original Polaroid sleeve

Framed Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 with original Polaroid sleeve by Robert Mapplethorpe

 

Front cover of Polaroids Mapplethorpe by Sylvia Wolf, 2008

Back cover of Polaroids Mapplethorpe by Sylvia Wolf, 2008

 

In 1970 Robert Mapplethorpe bought a Polaroid camera so he could take photographs to use in his collages. But he began to appreciate the quality of the Polaroid photographs which led to his first exhibition: Polaroids which was on January 6, 1973 at Light Gallery, 1018 Madison Avenue, New York. For the invitation, Mapplethorpe took a self-portrait in the mirror, holding his Polaroid camera in front of his bare crotch. Three hundred gelatin silver prints were made from the negative and embossed with Mapplethorpe's name. Either a red or white dot was applied to the front to conceal his penis - a way to avoid the laws forbidding the circulation of nudity through the US mail. Information about the opening's location and time, and the photograph (slipped inside the protective paper that came with the Polaroid film which read on the outside "DON'T TOUCH HERE, Handle Only On Edges, Polaroid Polacolor Land Film, Pack Type 108") were tucked into a think cream-colored Tiffany envelope and mailed.

 

Harold Jones, then director of Light Gallery, remembers the opening as crowded with uptown collectors, downtown hustlers, artists, musicians, and celebrities. The scene that Jones recalls was an early indicator of Mapplethorpe's appeal across socioeconomic lines. It also signaled a growing audience for photography. 

 

For the book Polaroids Mapplethorpe by Sylvia Wolf, 2008; which was published in collaboration with the exhibition of the same name at the Whitney Museum of American Art, New York features Self Portrait With Camera - Invitation To Light Gallery Opening, January 6, 1973 on the front cover and the original Polaroid sleeve on the back cover. This is Robert Mapplethorpe's first photography exhibit announcement and is also an early signed nude self-portrait from an extremely rare a and would be a wonderful addition to any art collection!

  #Mapplethorpe #RobertMapplethorpe #Polaroid #LightGallery #gelatinsilverprint #malenude #SelfPortraitWithCamera #photograph #signedphotograph #untitledartgallery #Art #Artwork #OriginalMapplethorpe 

Wrapped Snoopy House, Project for Charles M. Schulz Museum, 2005 by Christo

Wrapped Snoopy House, Project for Charles M. Schulz Museum, 2005; Lithograph with collage of broadcloth, thread, and masking tape, on Rives BFK paper mounted to board (as issued); Signed Christo and numbered 130/250 in pencil upper right; Landfall Press ink stamp bottom left verso; Copyright 2005 Christo ink stamp bottom right verso; Size - 24 1/2 x 21 1/8", Frame 33 3/4 x 30 1/2"; Framed using a black wood frame, acid free mat, linen liner, and UV plexiglass.

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

"Any element of impermanence in an artwork creates a feeling of fragility, even vulnerability, as well as a sense of urgency about viewing it. There is at the same time an inherent awareness of the loss we feel at its absence, knowing that tomorrow it will be gone." - Christo 

Christo Vladimirov Javacheff (1935-2020) was an artist most associated with the Process Art Movement and noted for his large-scale and site specific environmental installations. He and his wife Jeanne-Claude Denat de Guillebon (1935-2009) were born on the same day in Bulgaria and Monocco, respectively. They met and married in Paris in the late 1950's and began working together under Christo's name; later crediting artwork created by both of them under the joint name of 'Christo and Jeanne-Claude" Their works were usually large, visually impressive, controversial, and often taking years or decades of preparation to execute. The creation process included: developing technical solutions, political and legal negotiation, permitting, environmental approval, private/public hearings, and a lot of persuasion. To raise money for the associated costs, they would refuse grants, scholarships, donations, or public money; and instead financed the works through the sale of their own artwork. The most recognized completed projects includes the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park.

 

Close up of the Christo's signature and the edition number.

Close up of "Wrapped Snoopy Doghouse," 2005 by Christo

Close up of the Copyright 2005 Christo ink stamp bottom right verso.

In January 1958 Christo first began to wrap objects, starting with a simple paint can. His collection of wrapped household items included shoes, telephones, and other objects and would be jointly known as his Inventory. The wrapping of an object results in the viewer's change in perception, and the increased need for exploration of the object. The viewer has to deal with the transformative effect of the fabric and the the resulting tactile surface. The concealment caused by the wrapping challenges the viewer to reevaluate the object beneath, and the space in which it exists. The point of the wrapping has less to do about concealment, as it does to altering the environment and the challenge to conventional interpretation. The artistic advancement from the Inventory was to graduate to larger and more recognized objects/buildings/landmarks.

The cartoonist Charles M. Schulz, known for his Peanuts comic strip, met Christo and Jeanne-Claude in 1975. Schulz really admired the extraordinary environmental artworks by the pair and paid tribute to them in the 1978 Peanuts comic strip pictured below:

 

 

Twenty-five years later, Christo returned the compliment by creating Wrapped Snoopy House, a life-sized doghouse wrapped in tarpaulin, polyethylene, and ropes; and presented it to Jean Schulz for permanent display at The Charles M. Schulz Museum.

 

 

Wrapped Snoopy House, 2004

Close up of the Landfall Press ink stamp bottom left verso.

Framed "Wrapped Snoopy House," 2005 by Christo

 

Christo also designed and completed a work for The Charles M. Schulz Museum and Research Center. A limited edition, signed and numbered lithograph with collage of broadcloth, thread, and masking tape entitled Wrapped Snoopy House-Project for the Charles M. Schulz Museum. The piece was sold in order to help fund the Museum and Research Center, and it sold out very quickly. The limited edition with collage wrapped doghouse is an absolutely fantastic work by the great Process artist Christo, and would be a wonderful addition to any art collection!

#Christo #ChristoandJeanneClaude #ProcessArt #CharlesMSchulz #CharlesSchulz #Peanuts #Snoopy #SnoopyDoghouse #WrappedChristo #WrappedSnoopyHouse #ChristoVladimirovJavacheff #untitledartgallery #Art #Artwork #OriginalChristo 

Cerulean Blue Macchia with Violet Lip Wrap, 1986 by Dale Chihuly

Monumental Cerulean Blue Macchia with Violet Lip Wrap, 1986; Free blown, flared form with undulating rim, dappled with pink, white, and yellow with a cerulean blue interior and violet lip wrap; Engraved Dale Chihuly 1986 bottom; Size: 32" x 22" x 11".

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

"My work, to this day revolves around a simple set of circumstances: fire, molten glass, human breath, spontaneity, centrifugal force, gravity." - Dale Chihuly

Dale Chihuly was born on September 20, 1941 and is an American glass sculptor. His works are considered to be exceptional in the field of blown glass; and he has adapted the technical difficulties of the medium to explore and implement installations, as well as environment specific artwork.

Chihuly first began experimenting with glass blowing in 1965 and began an extensive education centered around sculpture. He earned a Master of Fine Arts degree in sculpture from the Rhode Island School of Design in 1968; and that same year was awarded a Louis Comfort Tiffany Foundation grant for his work in glass, as well as a Fulbright Fellowship. He traveled to Venice to work at the Venini factory on the island of Murano, where he first saw the team approach to glass blowing. In 1976, while in England, he was involved in a head-on-car crash which propelled him through the windshield. His face was severely cut by glass and he was permanently blinded in his left eye. After recovering, he continued to blow glass until he dislocated his right shoulder in 1979 while body surfing.

No longer able to hold a glassblowing pipe, he was able to utilize the team approach to glass blowing he had seen in Murano, and hired other artists to do the physical work. Chihuly explained the change saying, "Once I stepped back, I liked the view." He felt liberated and more free to see the work from multiple perspectives, and the change enabled him to anticipate problems earlier and to react. His role in the studio changed from participate, to supervisor and problem solver. One of the most critically acclaimed series by Chihuly was the Macchia series. Macchia, which is Italian for spot, was begun in 1981 and continues today.

 

As Chihuly has explained:

"The Macchia series began with my waking up one day wanting to use all three hundred of the colors in the hot shop. I started by making up a color chart with one color for the interior, another color for the exterior, and contrasting color for the lip wrap, along with various jimmies and dusts of pigment between the layers of glass. Throughout the blowing process, colors were added, layer upon layer. Each piece was another experiment. When we unloaded the ovens in the morning, there was the rush of seeing something I had never seen before. Like much of my work, the series inspired itself. The unbelievable combination of color - that was the driving force."

From Timothy Anglin Burgard, Chihuly the Artist: Breathing Live into Glass, 2008:

 (The Macchia) Often balanced slightly off-center, they attempt to capture the essence of glass in its most volatile sate - simultaneously hot and flowing, but also cool and congealing. The blurred edges of the color striations and "spots" suggest that they are being dissolved by heat or have coalesced into opal-like mineral deposits. Chihuly's "lip wraps," think ribbons of colored glass that run along the vessel's lip suggest the presence of a super-heated inner core and recall the leading edge of a lava flow, breaking through the congealing perimeter of a magma mass. - Chihuly's Macchia are permanently aglow with the fires of their creation."
 

 

The following are various views of Cerulean Blue Macchia with Violet Lip Wrap, 1986 by Dale Chihuly:

From Robert Hobbs, The Rhoda Thalhimer Endowed Professor of American Art History, Virgina Commonwealth University: 

"In the Macchia, Chihuly makes this former (Classic Venetian blown glass) static orientation dynamic and enlarges this conservative scale to awesome proportions. He heightens tensions between inside and outside through dissonant color combinations and through contrasts of opacity, translucency, and transparency. Rather than continuing the preciousness of the filigree of the Bianconi examples, he creates a bolder impact by rolling ships of colored glass into the walls of the vessel for a mottled effect."

Chihuly and his team of artists have been the subjects of several documentaries, extensive printed articles, monographs, and collections. For a complete list of Museum collections, please click on the link below:

Dale Chihuly Museum Collections

Engraved Dale Chihuly signature and 1986 date, bottom.

"Cerulean Blue Macchia with Violet Lip Wrap," 1986 is an exceptional example of Dale Chihuly at his best. This monumental Macchia is composed of cerulean blue as the dominant interior color, pink and yellow spots set against a white ground on the outside, and finished with a contrasting violet colored lip. An absolutely stunning and massive piece of modern glass by the most important glass artist of his time, and a standout of any art collection!

#Chihuly #DaleChihuly #Artglass #Blownglass #Macchia #glass #Art #artist #untitledartgallery #MacchiaSeries

Diamond Dust Candy Box, 1981 by Andy Warhol

Diamond Dust Candy Box, 1981; Synthetic polymer paint, diamond dust, and silkscreen ink on canvas; Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts stamps; Numbered VF PA13.005 on the overlap; Numbered twice 'PA13.005' on the stretcher; Size - Canvas: 14 x 10", Frame 17 x 13 1/4"; Framed using a black wood frame and plexiglass.

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

"You take some chocolate... and you take two pieces of bread... and you put the candy in the middle and you make a sandwich of it. And that would be cake." - Andy Warhol

Andy Warhol loved chocolate and many days, at lunchtime, he would go the Upper East side restaurant "Serendipity" for it's speciality; a glass of frozen hot chocolate. He also had an insatiable sweet tooth, he said "When I was a child I never had a fantasy about having a maid, what I had a fantasy about having was candy. As I matured that fantasy translated itself into 'make money to have candy,' because as you get older, of course, you get more realistic." In the 1980's Warhol would seize on his love of chocolate candy to create a series of paintings and prints that had as their subject matter open and closed chocolate boxes.

Close up of the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts stamps; and the unique authentication number VF PA13.005 on the overlap.

Close up of the unique authentication number VF PA13.005 inscribed twice on the stretcher.

Andy Warhol's paintings of candy boxes was a refreshing return to his 1960's consumerism as well as nod to his love of chocolate. The artworks that were created were used as holiday and personal gifts to friends and associates. Some of the paintings show a beautifully wrapped heart shaped chocolate box (invented by the English chocolatier Richard Cadbury), while this example showcases the chocolate candy contained within a rectangular box. Unlike the paintings of just the boxes, some of the paintings of the chocolates themselves are also diamond dusted. The glittering diamond dust adds to the delectable, delicious, and decadent appeal of the chocolate bon bons.

Warhol's use of diamond dust is owed to his friend John Reinhold; who was a diamond dealer and art collector. One day John gave Warhol a jar of diamond dust, suggesting he could incorporate it into his artwork; which lead to the Diamond Dust series for both prints and paintings. John Reinhold's wife Susan co-founded the Reinhold-Brown Gallery, and Warhol painted portraits of John Reinhold and his and Susan's ten year old daughter Berkeley. In 1981 Warhol gave Berkeley an 80 page leather-bound diary. On each page was drawn abstract forms that slowly progress and develop page-by-page into a beautiful dollar sign. In 2010 Rizzoli published a reproduction of the diary in book form entitled "Andy Warhol: Making Money.

Framed "Diamond Dust Candy Box," 1981 by Andy Warhol 

 

Back of framed "Diamond Dust Candy Box," 1981 by Andy Warhol 

"Diamond Dusted Chocolate Box" is an exceptional example of Pop Artist Andy Warhol as his best. The image of an open box of glittering chocolate candies is instantly recognized and immediately causes the viewer's mouth to water. The inconsistent screen printing of the chocolates likens back to Warhol's rough screening of the Campbell's Soup Cans and Marylin Monroe paintings of the 1960's. This is an absolutely fantastic unique work on canvas by the great Pop artist Andy Warhol and would be a standout of any art collection!

Video of the surface of "Diamond Dust Candy Box" 1981 by Andy Warhol

#Warhol #AndyWarhol #PopArt #WarholFoundation #UniqueWarhol #UniqueAndyWarhol #BobColacello #CandyBox #Chocolate #JohnReinhold #WarholAuthenticated #untitledartgallery #Diamond Dust Candy Box #WarholPainting #DiamondDust