Next weekend, we’ll be opening an exhibition of original works on paper by Marc Chagall, featuring:
“THE WINDOW” — M-175, DLM 99-100, 10″x8.5″ image size, original hand-pulled stone lithograph in colors, edition of 5,000, Maeght Gallery, Paris, July-August exhibition, 1957.
“THE TWO PROFILES” — M-177, DLM 99-100, original hand-pulled stone lithograph in colors, edition of 5,000, Maeght Gallery, Paris, July-August 1957.
“RED ROOSTER” — M-203, 9 1/16″x 15 2/8″ trimmed to plate, original hand-pulled stone lithograph in colors, edition of 6,000, Freres Draeger, Maeght Gallery, Paris, 1957, for the Lassaigne Edition. Very rare first printing, first edition, acquired on first publication.
“BOUQUET WITH BIRD” — M-298, overprinted hand-pulled lithograph in colors, DLM 119, Maeght Gallery, Paris, November, 1960.
Old Fire Station, Broad Street, Nevada City, photo by E.J. Gold.
If you click onto nevadacitytours.com, you’ll note that the first listing takes you to zazzle, where you’ll initially see postcards, views of Nevada City and environs, that I took when I was regaining my walking skills after the second surgery in 2002.
The gallery is well within view here — it’s just to the right of the middle of the photo, inside the historic and very haunted New York Hotel. We feature very high-end ORIGINAL art by Chagall, Miro, Picasso, Degas, Manet, Gauguin, Matisse, Rembrandt, van Ostade and many more.
Our first offering will be a very rare and very personal Jasper Johns 0-9 lithograph in colors, pencil-signed and numbered, but the most important aspect of this offering is that it came from Sotheby’s and carries with it all the documentation from Sotheby’s auction house in New York City.
You’ll see at my gallery — and have a chance to buy or help sell — museum-grade art, which could be purchased by an art patron in your hometown, on the public’s behalf, then bequeathed to your local art museum. There may be tax benefits to the estate by so doing, but the social and cultural benefits far outweigh personal wealth. This can be a legacy that you can leave for future generations, or help facilitate if you can’t buy.
Here’s an example:
This is a very unusual form of Jasper Johns’ zero through nine series; it’s pencil-signed and numbered by the artist. It’s small, personal, and very, very limited in the edition size. JASPER JOHNS — Zero Through Nine (0-9) — color lithograph — Ca. 1978 — Edition 60 — Signed – Numbered – Dated – C 160×124 – S4 – G 781 – Full Margin — Sotheby New York – 05/13/87 – # 833.Continue reading →
JOAN MIRO — Original Mourlot Hand-Pulled Stone Lithograph printed on wove paper, it is the back cover of ” XXe Siecle #4″, published in 1954; edition size about 5,000, probably a few hundred circulating around nowadays, or far less, as a result of many of them falling into a permanent collection of a library, university or museum. A very rare original print with lots of early primitivism and strong paint strokes. The double “X” signifies the “twentieth century” aspect of the famous high-grade French art “magazine” of the Golden Age of Art. Condition is Extra-Fine.
Bidding Range: $950 – $1500
SIDE-NOTES: This is hard to find, and expensive to buy, with no hope of “fast turnover”. It may take years to sell a print in a gallery. There are some XXe Siecle originals on eBay, and a lot of things that people THINK are XXe Siecle that are also there. Some prints are as low as $30 bucks or so, when the seller is unaware of the value of the print, and when the artist is not as well-collected, highly valued or among the “Big Name Artists” like Rembrandt, Renoir, Chagall, Miro, Picasso, and Matisse. It’s not a good idea to seek out bargains in the art market. You pay for what you get, and you get what you pay for.Continue reading →
This is an original signed Picasso copperplate etching. It’s one of many “Blue Chip” art pieces I sacrifice to bring people into an art auction. It makes no money for the charity, does nothing to help the finances, and must be replaced with something equally pricey for the next auction. It is strictly a “Loss Leader”, intended to attract an audience, and I’d frankly be happier without them, and I’ll tell you why:
First of all, nobody but an art dealer would know that these things are even for sale, and very few of them even have an inkling of what they’re worth, where to find them and how to authenticate them beyond doubt — you DON’T want returns.
