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Christo and Jeanne-Claude
Christo and Jeanne-Claude Running Fence, Sonoma and Marin Counties, CA Print

1976

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  • Christo 'The Umbrellas - Joint Project for Japan and USA' (Blue) Signed Print
    By Christo
    Located in San Rafael, CA
    Christo (Bulgarian, 1935-2020) The Umbrellas (Joint Project for Japan and USA), 1991 (Blue) Offset lithograph on wove paper, Signed in crayon lower righ...
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    1990s Contemporary Landscape Prints

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  • Christo 'The Gates' NYC Signed Print, 2005
    By Christo
    Located in San Rafael, CA
    Christo Javacheff (1935-2020) The Gates XV, 2005 Project for Central Park, NYC Offset lithograph in colors on wove paper Signed lower left Published by Kunstverlag Schumacher GmbH, Dusseldorf and NYGS Sheet: 10.5in H x 12.25in L Christo and Jeanne-Claude designed and installed 7,503 "gates" with saffron-colored fabric panels. The exhibit ran from February 12, 2005 through February 27, 2005 along 23 miles of pathways in Central Park in New York City. The Gates alludes to the tradition of Japanese Shinto torii gates similar to the paths of the Fushimi Inari...
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    Early 2000s Contemporary Landscape Prints

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  • Massimo Vitali 'Knokke Beach' Artist's Proof Limited Edition Print
    By Massimo Vitali
    Located in San Rafael, CA
    Untitled, from Knokke Beach Polyptych, from A Portfolio of Landscapes with Figures, 2002 Offset lithograph in colors on smooth wove paper Artist's Proof 10/20, sheet # 40. Stamped w...
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    21st Century and Contemporary Contemporary Landscape Prints

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  • Toshi Yoshida 'Monument Valley' Woodblock Print, 1971
    Located in San Rafael, CA
    Yoshi Toshida (Japanese, 1911-1995), Monument Valley, 1971 Woodblock in colors Pencil signed lower right, titled lower left. Dated and titled in Japanese left margin. Image: 11.75 x ...
    Category

    1970s Landscape Prints

    Materials

    Wood, Archival Pigment

  • David Shrigley 'Look at This' print, 2020
    By David Shrigley
    Located in San Rafael, CA
    David Shrigley (English b. 1968) Look at This, 2022 Off-set lithograph Open edition, unframed 60 x 80 cm (23.62 x 31.5 inches) Printed on 200g Munken Lynx paper by Narayana Press in ...
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    2010s Contemporary Figurative Prints

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    Offset

  • David Shrigley 'People Expect So Much From Me' Print
    By David Shrigley
    Located in San Rafael, CA
    David Shrigley (English b. 1968) People Expect so Much from Me, 2021 Off-set lithograph Open edition, unframed 60 x 80 cm (23.62 x 31.5 inches) Printed on 200g Munken Lynx paper by N...
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  • Limited Edition poster for Alaska installation: Image Intervention (Hand Signed)
    Located in New York, NY
    Dennis Oppenheim Image Intervention (Hand Signed), 1984 Offset Lithograph Hand signed and dated by the artist on the middle front 28 × 20 inches Unframed Uncommon, hand signed offse...
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    1980s Conceptual Abstract Prints

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  • Fold-out PACE Gallery invitation (hand signed by Robert Irwin)
    By Robert Irwin
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    Robert Irwin Fold-out PACE Gallery invitation (hand signed by Robert Irwin), 2012 Offset lithograph fold-out invitation (hand signed by Robert Irwin) Boldly signed by Robert Irwin on...
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    2010s Conceptual Figurative Prints

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  • Running Fences White
    By Christo and Jeanne-Claude
    Located in Boston, MA
    Artist: Christo, Title: Running Fences White Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25" x 39" Signature: Signed...
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    1970s Conceptual Landscape Prints

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  • Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim)
    By Dennis A. Oppenheim
    Located in New York, NY
    Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...
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    1960s Conceptual Landscape Prints

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  • Running Fences yellow
    By Christo and Jeanne-Claude
    Located in Boston, MA
    Artist: Christo, Title: Running Fences yellow Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25.25" x 39.5" Signature: Signed Edition: 1000
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  • Wrapped Reichstag
    By Christo and Jeanne-Claude
    Located in Boston, MA
    Artist: Christo, Title: Wrapped Reichstag Series: Wrapped Reichstag Date: 1971-1995 Medium: Offset Lithograph Framed Dimensions: 25.25" x...
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