MASTERS of MODERN & CONTEMPORARY ART
HEAD HONCHO MASTERS of MODERN & CONTEMPORARY ART
914 EAST LAS OLAS BOULEVARD - FT. LAUDERDALE, FL 33301 | 954.524.2100 | WWW.NEWRIVERFINEART.COM
MEL BOCHNER
MEL BOCHNER Head Honcho, 2012
Monotype with collage, engraving and embossment on hand dyed Twinrocker paper 30.5 x 21 in. Considered the father of the Conceptual art movement, Mel Bochner’s works containing text, such as Head Honcho, have captivated Contemporary collectors around the globe. Bochner repeats a rhythmic, graphic pattern that slowly reveals itself as a textual play with words. He seeks to reflect commentary on the blather of advertisers, politicians and bloggers – while also critiquing the social media world of texts and tweets. Bochner creates a parade of words, shamelessly demanding attention.
ALEXANDER CALDER
ALEXANDER CALDER American Revolution Bicentential – Les Palmiers, circa 1975
Hand woven Aubusson wool tapestry Woven signature “Calder” lower right and signed “C” verso. Labeled on back “D’apres Le Carton De Calder Tapisserie Tissee Par Les Ateliers Pinton © Alexander Calder 1975”. In celebration of the bicentennial of the American Revolution, Calder designed a set of six tapestries. His designs were then handwoven by the Pinton Freres atelier in Aubusson, France. A total of 200 tapestries were produced, each numbered and signed. Several are owned by the Whitney Museum and were featured in the 1976 museum retrospective of Calder’s work.
MARC CHAGALL
MARC CHAGALL Bateau-Mouche au Bouquet, 1961
Lithograph in colors 15 3/8 x 11 3/4 in. Signed, lower right and enscribed Epreuve d’artiste Reference: Mourlot 352
MARC CHAGALL Roses et Mimosas, 1967
Lithograph in colors 24.25 x 18.125 in. Signed, lower right, Edition of 75 in Roman numerals Reference: CS 29 Nice and the Côte d’Azur along the famed French Riveria captured the heart and imagination of Marc Chagall, who loved the beauty of the Mediterranean. It was in Nice that Chagall believed he was “born for the second time,” as the area awoke within him a sense of well-being, plentitude, and freedom. His whimsical imagery reflects the love that he held for the warm sun and crystal blue waters of the Mediterranean.
MARC CHAGALL L’OPERA, 1954
Lithograph in colors 15.5 x 11.25 in. Signed, lower left, edition of 75 Reference: Mourlot 102, Cramer 24
MARC CHAGALL King David, 1973
Lithograph in colors 5.875 x 4.75 in. Signed, lower right, edition of 150 Reference: Mourlot 700
MARC CHAGALL Four Seasons Poster, 1974 Offset lithograph in colors 37 x 26 in. Reference: Chagall Poster p.62
SALVADOR DALI
SALVADOR DALI Pegasus, 1963-1965
Hand-colored etching on Japon paper 22 x 30 in. Signed, lower right, edition of 100 in Roman numerals Reference: ML128
SALVADOR DALI Baie de Port Lligat Avec L’Homme Croix, 1960 Black ink drawing on paper 13.5 x 14.875 in. Signed, lower right
SALVADOR DALI Celestial Elephant, 1979
Lithograph in colors 23 x 17 in. Reference: ML1584 Signed, lower right, edition of 350 In “Celestial Elephant”, the essence of surrealism is abundantly and colorfully evident: an elephant weighing tons is supported by spindly, birdlike legs. While it is an undeniably whimsical sight, Dali clearly intended to elicit a fantasy seen only in one’s dreams.
SALVADOR DALI Birth of Venus (Torso), 1979
Lithograph in colors 23 x 17 in. Signed, lower right, edition of 350 Reference: ML1585 In “Birth of Venus (Torso)”, Salvador Dali examines not only love and sexual desire, but the themes of purity, perfection, previous life and rebirth. Like most of the artist’s work, Dali layered multiple meanings in this work.
SALVADOR DALI The Prince of Love from the Trilogy of Love Portfolio, 1976 Lithograph in colors 30 x 22 in. Signed, center EA, aside from the regular edition of 440 Reference: ML1503
SALVADOR DALI The Eternity of Lover from the Trilogy of Love Portfolio, 1976 Lithograph in colors 30 x 22 in. Signed, center EA, aside from the regular edition of 440 Reference: ML1502
DALI
Inferno Canto 9: The Furies, 1960 Inferno Canto 13: The Forest of Suicides, 1960 Inferno Canto 16: The Mount of Geryon, 1960 12 x 10.25 in. Signed, lower right, From the Divine Comedy
Reference: ML1039-1138
DALI
Purgatory Canto 3: The Indolent Ones, 1960 Purgatory Canto 5: Virgil Reproaches, 1960 Purgatory Canto 32: The Earthly Paradise, 1960 12 x 10.25 in. Signed, lower right, From the Divine Comedy
Reference: ML1039-1138
DALI
Paradise Canto 3: The First Sphere, 1960 Paradise Canto 23: The Triumph of Christ and the Virgin, 1960 Paradise Canto 26: Dante Regains His Sight, 1960 12 x 10.25 in. Signed, lower right, From the Divine Comedy
Reference: ML1039-1138
DAMIEN HIRST
DAMIEN HIRST Cigarette Box, 1999
Mixed media cigarette box 3.75 x 2.25 in. Damien Hirst worked with Camel in 1999 as part of their “Work in Progress” promotion. The packs were for promotion only through Camel’s distribution reps, were never sold to the public and now are extremly rare. On the pack’s verso is the inscription “Damien Hirst, infamous for exhibiting bisected animals and specious pharmacies wants you to believe he also has a gentle, pastoral side”.
DAMIEN HIRST The Souls, 2011
Foil block print in metallic colors on black toned cardboard 10 x 5 in. Signed, center, edition of 100
ROY LICHTENSTEIN
ROY LICHTENSTEIN As I Opened Fire (Triptych), 1964
Offset lithographs in color 23.125 x 19 in. each Each signed, lower right A very rare, signed first edition, from 1966 published by the Stedelijk Museum, Amsterdam in conjunction with their acquiring of the original works from 1964 for the museum’s permanent collection. While 3,000 of the lithographs were produced in the first edition, it is extremely rare to find signed versions. The reverse of each print is stamped: ‘Roy Lichtenstein 1923’
ROY LICHTENSTEIN Art Critic, 1996
Screenprint in color 26 x 19.125 in. Signed, lower right, edition of 150 Printed by Noblet Serigraphie Inc., New York. Produced as a benefit for the Brooklyn Academy of Music (BAM) New York where the artist served on the BAM board from 1984-87. The Prints of Roy Lichtenstein, Catalogue Raisonne 1948-1997 Corlett 305. Published by Roy Lichtenstein and the Brooklyn Academy of Music.
HENRI MATISSE
HENRI MATISSE
La Tailleuer de Lumiere II, 1950 Nuit de Noel, 1950 La Tailleuer de Lumiere III, 1950
Llithograph 14 x 10.5 in. Published in Paris by Teriade for Verve 35/36 in 1958
HENRI MATISSE
Zulma, 1950 Frontispiece, 1950 Danseuse Creole, 1950
Llithograph 14 x 10.5 in. Published in Paris by Teriade for Verve 35/36 in 1958
HENRI MATISSE
Le Tailleuer de Lumiere, 1950 Poissons Chinois, 1950 Woman with Amphora and Pommegranates, 1950 Llithograph 14 x 10.5 in. Published in Paris by Teriade for Verve 35/36 in 1958
HENRI MATISSE
Tristesse Du Roi, 1975 La Negresse, 1975
Llithograph 14.25 x 20.75 in. Published in Paris by Teriade for Verve 35/36 in 1958
HENRI MATISSE Femmes Et Singes, 1975 Apollon, 1975
Llithograph 14.25 x 20.75 in. Published in Paris by Teriade for Verve 35/36 in 1958
HENRI MATISSE
La Gerbe, 1975 Boigneuse Dans Les Roseaux, 1975
Llithograph 14.25 x 20.75 in. Published in Paris by Teriade for Verve 35/36 in 1958
ROBERTO MATTA
ROBERTO MATTA War Cartoon, c. 1940 - 43
Crayon and graphite on paper 16.75 x 21 in. A certificate from Germana Matta Ferrari of the Archives de l’Oeuvre de Matta accompanies this work. War Cartoon belongs to an extraordinary group of drawings, produced under the dispiriting conditions of world war and the vibrant energy of intercultural exchange. The work, one of at least three meditations on the theme, is an amalgamation of the Surrealist technique of automatism and Matta’s idiosyncratic, frenzied style of drawing that so influenced young American artists such as Jackson Pollack, Mark Rothko and Robert Motherwell. Provenance and exhibition history available upon request.
ROBERTO MATTA The Horoscope, 1937
Graphite and wax crayon on paper 12.375 x 19.375 in.
EXHIBITED: University of Chicago, Renaissance Society, Matta, March-May 1963. Chicago, Museum of Contemporary Art, Dada and Surrealism in Chicago Collections, December 1984-January1985, p. 187 (illustrated). Paris, Musée national d’art moderne, Centre Georges Pompidou, Matta, October-December 1985, p. 82, no. 1(illustrated). Milwaukee, Marquette University, Haggerty Museum of Art and Museo de Arte Contemporáneo de Monterrey, Matta: Surrealism and Beyond, September 1997-May 1998, pp. 2-3 and 33, no. 43 (illustrated in color). Chicago, Museum of Contemporary Art, Matta in America: Paintings and Drawings of the 1940’s, July-October 2002, pp. 38-39, no. 1 (illustrated in color). LITERATURE: G. Ferrari, Entretiens Morphologiques, Notebook No. 1, 1936-1944, London, 1987, p. 46 (illustrated in color). A certificate from Germana Matta Ferrari of the Archives de l’Oeuvre de Matta accompanies this work. Provenance available upon request.
JOAN MIRO
JOAN MIRO La Taupe Hilare, 1975
Etching and aquatint in colors 49 x 62.25 in. Signed, lower right, edition of 50 Reference: D.753 Joan Miro’s sense of the marvelous and humor are ever-present in La Taupe Hilare. Rather than resorting to complete abstraction, the artist explores various means by which to dismantle traditional precepts of representation. The “Hilarious Mole” frolics across the page while the all-seeing eye captures both subconscious dreams and images from the conscious world. Miro demonstrates a great sense of play, with a winning combination of line, color, and form that results in a beautiful work of art.
JOAN MIRO Le Lever de Jour (Sunrise), 1937
Original gouache, watercolor and charcoal on paper 29.5 x 41.75 in. Signed “Miro”, lower right and signed again, titled and dated, “MIRO. 2/11/37. Le lever du jour” on verso This work is included in the catalogue raisonné of works on paper volume I number 777, page 368. While living in Paris after 1919, Miro came under the influence of the Surrealists. Le Lever du Jour includes biomorphic shaped birds welcoming the dawn of a new day. Curved lines guide the viewer through the composition while soft washes of color support Miro’s emblematic creatures combining the mystical, primitive and childlike. Provenance available upon request.
JOAN MIRO Poster for the Exhibition “Joan Miro Graphics” Philadelphia Museum of Art, 1966 Lithograph in colors 25.625 x 19.75 in. Signed, lower right, edition of 150 Reference: Maeght 1708
JOAN MIRO Sur Quatre Murs, 1951
Lithograph in colors 10.25 x 31.37 in. Signed, lower right, edition of 400 Reference: Maeght 1708
JOAN MIRO Colpir Sense Nafrar 4, 1981
Lithograph in colors 37.75 x 28.75 in. Signed, lower right, edition of 50 Reference: Mourlot 1249
JOAN MIRO La Captive, 1969
Etching, aquatint and carborundum 37.5 x 28 in. Signed, lower right, annotated “HC” Reference: Dupin 489
JOAN MIRO L’Adorateur du Soleil, 1969
Etching, aquatint and carborundum 37.5 x 28 in. Signed, lower right, annotated “HC” Reference: Dupin 483
JOAN MIRO Gaudi XIII, 1979
Etching with chine-applique in colors 9.875 x 14.125 in. Signed, lower right, edition of 50 Reference: D.1070
JOAN MIRO Fotoscop Project, 1974
Pastel, gouache, crayon and ink on lithographic paper 13.77 x 22.04 in. Signed, lower right This unique work was created by Joan Miro in preparation for the book Fotoscop in 1974. At several points throughout his career, Miro would experiment with existing graphic work by painting with ink wash and gouache directly on top of the existing work, creating a unique painting. Fotoscop is one of those works. A copy of the book entitled Fotoscop accompanies this work. The work is sold with a photo certificate signed by Jacques Dupin.
JOAN MIRO
Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 4, 1975 Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 6, 1975 19..625 x 27.75 in. Lithograph Signed in stone, lower right Reference: M. 1053-1072
JOAN MIRO Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 9, 1975 Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 11, 1975 19..625 x 27.75 in. Lithograph Signed in stone, lower right, Reference: M. 1053-1072
JOAN MIRO
Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 13, 1975 Maravillas con Variaciones Acrosticas en El Jardin de Miro Plate 15, 1975 19..625 x 27.75 in. Lithograph Signed in stone, lower right Reference: M. 1053-1072
PABLO PICASSO
PABLO PICASSO Tete de Lion, 1968-69
Red earthenware plaque with engobe ground and engraving enhanced with oxides under partial brush glaze 12.25 x 12.25 in. Reference: A.R. 575 By depicting a lion, Pablo Picasso is making a statement about his courage and strength. The courage to break new ground in art with the invention of Cubism, the strength to constantly pursue new ways of creating art and at the age of 80, the courage to marry his second wife, Jacqueline, who was only 32 at the time!
PABLO PICASSO Woman Lamp, 1955
Turned vase of white earthenware clay, decoration in engobe and engraved by knife 13.75 x 7.25 in. 100 copies produced Reference: A.R. 295
PABLO PICASSO Corrida Sur Fond Noir, 1953
Earthenware platter with decoration in engobe, knife engraved on black ground. 15.25 in. diameter 500 copies produced Reference: AR.198 Pablo Picasso’s love of bullfights was well documented in his work. The artist associated with the bull’s strength and virility. Here, he uses the oval shape of the plate to symbolize the bull ring and depicts spectators in the background. The dark black background adds to the drama of the scene and allows the figures and colors to stand out.
PABLO PICASSO Corrida Verte, 1949
Earthenware platter with decoration in engobe, knife engraved on black ground 14.25 in. diameter 500 copies produced Reference: A.R. 81
PABLO PICASSO Wood Owl, 1948
White earthenware platter, decoration in oxides under glaze 15.5 x 12 in. 200 copies produced Reference: A.R. 48
PABLO PICASSO Engraved Face, c. 1947
White earthenware clay with engobe and glazes A unique work, signed by the artist, and inscribed “Madoura” and “A/P’, verso. An artist proof created in preparation for a ceramic edition.
PABLO PICASSO Black Face Service, Plate F, 1948
Earthenware clay, decoration in engobe, knife engraved under glaze 9.75 in. diameter 100 copies produced Reference: A.R. 41
PABLO PICASSO Bull, Rim with Leaves, 1957
Turned round plate, red earthenware clay with engobe decoration and knife engraving 9 in. diameter 500 copies produced Reference A.R. 394
PABLO PICASSO Little Sun, 1968
Rectangular plaque of red earthenware clay, printed with engobe pad 4 x 6.375 in. 200 numbered copies produced Reference: A.R. 547
PABLO PICASSO Picador, 1953
Turned round plate of white earthenware clay with oxidized paraffin decoration and white enamel 5 in. diameter 500 copies produced Reference: A.R. 160
After PABLO PICASSO, executed by ERMANNO NASSON Burlesco, 1959
A rare colorless glass vase, entirely iridescent, with black applied glass. From an original idea presented by Pablo Picasso and executed by Maestro Ermanno Nasson. Picasso first conceived this work in 1952 as a ceramic and later reimagined it in glass. According to statements from the artist, Nasson, this is a unique sculpture. Height 15.35 in. Engraved “Omaggio a Picasso E. Nasson�
After PABLO PICASSO, executed by ERMANNO NASSON Portatrice D’Acqua, 1959
A rare figurative vase of transparent glass, dappled with Latino and black glass filaments applied. From an original idea presented by Pablo Picasso and executed by Maestro Ermanno Nasson. Picasso first conceived this work in 1947 as a ceramic and later reimagined it in glass. Height 15.75 in. Engraved “E. Nasson 1959 Omaggio a Picasso” Reference: Gnesin p. 42
PABLO PICASSO Vallauris Exposition 1954 Linocut in colors 26.9 x 21.1 in. Reference: Cz12, Ba1026
PABLO PICASSO Exposition Vallauris 1958
Lithograph in colors 28.5 x 22 in. Signed, lower right Reference: B.1284, Cz27, Ba1050
F R A N K S TE L L A
FRANK STELLA The Symphony, 1990
Lithograph and screenprint in colors 81 x 40 in. Signed, edition of 175, plus 20 artist proofs Reference: Frank Stella Prints, Richard Axsom #199 p.300-301
MANOLO VALDES
MANOLO VALDES Jarron de Dos Asas, 1993
Etching with unique color collage 44.75 x 25.375 in. Signed, edition of 55
ANDY WARHOL
ANDY WARHOL Soup
Ink drawing on paper 7.5 x 6.5 in. Signed, center
ANDY WARHOL Liz, 1964
Offset lithograph on paper 23.125 x 23.125 in. Signed and dated, edition of 300
ANDY WARHOL Flowers from the Sunday B Morning Edition Screenprint in colors 35.5 x 35.5 in. Reference: F&S II.64-73
ANDY WARHOL Marilyn from the Sunday B Morning Edition Screenprint in colors 35.5 x 35.5 in. Reference: F&S II.22-31
ANDY WARHOL Sumatra’s Rhinoceros, from Vanishing Animals, 1986
Unique hand torn color collage with silk screen inks 12 x 18 in. Reference: F&S III B.60 His vibrant screenprints are more commonly associated with Hollywood glamour queens Marilyn Monroe and Liz Taylor, yet Andy Warhol was also an animal lover and used his trademark style to highlight the plight of endangered animals. This unique hand torn collage and screenprint was generated from a truly unique collaboration of art and science. In 1986, one year before his death, Andy Warhol accepted a commission to present sixteen species of animals in utmost danger of extinction. The basis for his work was Dr. Kurt Benirschke’s research in the same area, which resulted in the book Vanishing Animals published that same year. This work bears the Andy Warhol Estate Stamp, verso.
TOM WESSELMAN
TOM WESSELMANN Monica Nude with Lichtenstein, 2002 Screenprint in colors 23.125 x 23.125 in. Signed, lower right, edition of 60
914 EAST LAS OLAS BOULEVARD - FT. LAUDERDALE, FL | 954.524.2100 | www.newriverfineart.com