Wood and pigment.
Gift of the National Bank of Alaska/Wells Fargo,
Anchorage, donated by the Foundation for Art and Preservation in Embassies
Amos comes from a Nunivak family from Mekoryuk,
Alaska, that carved and painted traditional masks that combined the hunted
animal, fish, or bird with other living beings, sometimes the face and limbs of
the hunter. In this mask the loon has a polar bear on its back, its four paws
sharing the surrounding hoops with the loon’s feathers and two buoys.
Aquatint and soft-ground etching,
29 1/2 x 24 1/2 inches
Paulson Press
Donated by the Honorable Ronald S. Lauder and Mrs. Jo Carole Lauder to the Foundation for Art and Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of quilters who grew up in the former slave district of their ancestors, the Gee’s Bend of the Alabama River, was shown in an American museum exhibition. The unconventional, abstract and colorful quilts, made from tattered clothing and scraps of diverse textiles, had an immediate appeal. Further exhibitions, U.S. postage stamps, and prints that several of the quilters began to make in 2005 broadened their audience. Their prints sing out, as do the quilters themselves, “Hallelujah!”
Cup’ik (Ancient Nunivak Loon) Mask
Walter T. Amos, circa 1999
Wood and pigment.
Gift of the National Bank of
Alaska/Wells Fargo, Anchorage,
donated by the Foundation for Art and
Preservation in Embassies
Amos comes from a Nunivak family
from Mekoryuk, Alaska, that carved
and painted traditional masks that
combined the hunted animal, fish, or
bird with other living beings,
sometimes the face and limbs of the
hunter. In this mask the loon has a
polar bear on its back, its four paws
sharing the surrounding hoops with the
loon’s feathers and two buoys.
Triangles (After Annie E. Pettway)
Louisiana Bendolph, 2005
Aquatint and soft-ground etching,
29 1/2 x 24 1/2 inches
Paulson Press
Donated by the Honorable Ronald S. Lauder
and Mrs. Jo Carole Lauder to the
Foundation for Art and Preservation in
Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former slave
district of their ancestors, the Gee’s Bend of
the Alabama River, was shown in an
American museum exhibition. The
unconventional, abstract and colorful quilts,
made from tattered clothing and scraps of
diverse textiles, had an immediate appeal.
Further exhibitions, U.S. postage stamps,
and prints that several of the quilters began
to make in 2005 broadened their audience.
Their prints sing out, as do the quilters
themselves, “Hallelujah!”
Still have Joy / Tears of Pride
Louisiana Bendolph, 2007
Aquatint and soft-ground etching,
39 1/2 x 36 inches
Production courtesy of Paulson Press
Gift of the Foundation for Art and
Preservation in Embassies
This quilt print was commissioned by the
Foundation for Art and Preservation in
Embassies from Gee’s Bend quilters in 2006
7. It incorporates some variation on
recurrent Gee’s Bend themes, such as the
arrangement of wood planks in their roofs
and the fences upon which they display
their quilts.
Going Home
Louisiana Bendolph, 2005
Aquatint and soft-ground etching,
41 1/2 x 38 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to the
Foundation for Art and Preservation in
Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former slave
district of their ancestors, the Gee’s Bend
of the Alabama River, was shown in an
American museum exhibition. The
unconventional, abstract and colorful
quilts, made from tattered clothing and
scraps of diverse textiles, had an
immediate appeal. Further exhibitions, U.S.
postage stamps, and prints that several of
the quilters began to make in 2005
broadened their audience. Their prints
sing out, as do the quilters themselves,
“Hallelujah!”
Three Squares
Louisiana Bendolph, 2005
Aquatint and soft-ground etching
21 x 30 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to
the Foundation for Art and
Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former
slave district of their ancestors, the
Gee’s Bend of the Alabama River, was
shown in an American museum
exhibition. The unconventional,
abstract and colorful quilts, made
from tattered clothing and scraps of
diverse textiles, had an immediate
appeal. Further exhibitions, U.S.
postage stamps, and prints that
several of the quilters began to make
in 2005 broadened their audience.
Their prints sing out, as do the quilters
themselves, “Hallelujah!”
American Housetop (for the Arnetts)
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching,
41 x 44 inches
Paulson Press
Donated by the Honorable Ronald S. Lauder and
Mrs. Jo Carole Lauder to the Foundation for Art
and Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of quilters
who grew up in the former slave district of their
ancestors, the Gee’s Bend of the Alabama River,
was shown in an American museum exhibition.
The unconventional, abstract and colorful quilts,
made from tattered clothing and scraps of
diverse textiles, had an immediate appeal.
Further exhibitions, U.S. postage stamps, and
prints that several of the quilters began to make
in 2005 broadened their audience. Their prints
sing out, as do the quilters themselves,
“Hallelujah!”
First
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching,
41 x 44 inches
Paulson Press
Donated by The Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to the
Foundation for Art and Preservation in
Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former slave
district of their ancestors, the Gee’s Bend of
the Alabama River, was shown in an
American museum exhibition. The
unconventional, abstract and colorful quilts,
made from tattered clothing and scraps of
diverse textiles, had an immediate appeal.
Further exhibitions, U.S. postage stamps,
and prints that several of the quilters began
to make in 2005 broadened their audience.
Their prints sing out, as do the quilters
themselves, “Hallelujah!”
Mayday
Louisiana Bendolph, 2005
Aquatint and soft-ground etching,
42 x 35 1/2 inches
Paulson Press
Donated by the Honorable Ronald S. Lauder
and Mrs. Jo Carole Lauder to the Foundation
for Art and Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former slave
district of their ancestors, the Gee’s Bend
of the Alabama River, was shown in an
American museum exhibition. The
unconventional, abstract and colorful
quilts, made from tattered clothing and
scraps of diverse textiles, had an
immediate appeal. Further exhibitions,
U.S. postage stamps, and prints that
several of the quilters began to make in
2005 broadened their audience. Their
prints sing out, as do the quilters
themselves, “Hallelujah!”
Past and Gone
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching ,
40 1/2 x 35 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to the
Foundation for Art and Preservation in
Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former slave
district of their ancestors, the Gee’s Bend
of the Alabama River, was shown in an
American museum exhibition. The
unconventional, abstract and colorful
quilts, made from tattered clothing and
scraps of diverse textiles, had an
immediate appeal. Further exhibitions,
U.S. postage stamps, and prints that
several of the quilters began to make in
2005 broadened their audience. Their
prints sing out, as do the quilters
themselves, “Hallelujah!”
Down the Road
Mary Lee Bendolph, 2006
Aquatint and soft-ground etching,
34 ½ x 32 ½ inches
Production courtesy of Paulson
Press
Donated by the Foundation for Art
and Preservation in Embassies
This quilt print was commissioned
by the Foundation for Art and
Preservation in Embassies from
Gee’s Bend quilters in 2006-7. It
incorporates some variation on
recurrent Gee’s Bend themes, suc.
as the arrangement of wood planks
in their roofs and the fences upon
which they display their quilts.
To honor Mr. Dial
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching,
55 1/2 x 36 inches
Paulson Press
Donated by The Honorable Ronald S. Lauder and
Mrs. Jo Carole Lauder to the Foundation for Art
and Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of quilters who
grew up in the former slave district of their
ancestors, the Gee’s Bend of the Alabama River, was
shown in an American museum exhibition. The
unconventional, abstract and colorful quilts, made
from tattered clothing and scraps of diverse textiles,
had an immediate appeal. Further exhibitions, U.S.
postage stamps, and prints that several of the
quilters began to make in 2005 broadened their
audience. Their prints sing out, as do the quilters
themselves, “Hallelujah!”
Lonnie Holley’s Freedom
Aquatint and soft-ground etching,
Mary Lee Bendolph, 2005
41 x 44 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to
the Foundation for Art and
Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former
slave district of their ancestors, the
Gee’s Bend of the Alabama River,
was shown in an American museum
exhibition. The unconventional,
abstract and colorful quilts, made
from tattered clothing and scraps of
diverse textiles, had an immediate
appeal. Further exhibitions, U.S.
postage stamps, and prints that
several of the quilters began to
make in 2005 broadened their
audience. Their prints sing out, as
do the quilters themselves,
“Hallelujah!”
Housetop Block / Purple
Aquatint and soft-ground etching,
Mary Lee Bendolph, 2005 33 x 30 1/2 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to the
Foundation for Art and Preservation in
Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former
slave district of their ancestors, the
Gee’s Bend of the Alabama River, was
shown in an American museum
exhibition. The unconventional, abstract
and colorful quilts, made from tattered
clothing and scraps of diverse textiles,
had an immediate appeal. Further
exhibitions, U.S. postage stamps, and
prints that several of the quilters began
to make in 2005 broadened their
audience. Their prints sing out, as do
the quilters themselves, “Hallelujah!”
Black and Brown
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching ,
33 x 30 1/2 inches
Paulson Press
Donated by the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to
the Foundation for Art and
Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of
quilters who grew up in the former
slave district of their ancestors, the
Gee’s Bend of the Alabama River,
was shown in an American museum
exhibition. The unconventional,
abstract and colorful quilts, made
from tattered clothing and scraps of
diverse textiles, had an immediate
appeal. Further exhibitions, U.S.
postage stamps, and prints that
several of the quilters began to make
in 2005 broadened their audience.
Their prints sing out, as do the
quilters themselves, “Hallelujah!”
Mama’s Song
Mary Lee Bendolph, 2005
Aquatint and soft-ground etching,
42 1/2 x 32 inches
Paulson Press
Donated by the Honorable Ronald S. Lauder and
Mrs. Jo Carole Lauder to the Foundation for Art
and Preservation in Embassies
GEE’S BEND QUILTERS
In 2002, the work of a community of quilters who
grew up in the former slave district of their ancestors,
the Gee’s Bend of the Alabama River, was
shown in an American museum exhibition. The
unconventional, abstract and colorful quilts, made
from tattered clothing and scraps of diverse textiles,
had an immediate appeal. Further exhibitions, U.S.
postage stamps, and prints that several of the
quilters began to make in 2005 broadened their
audience. Their prints sing out, as do the quilters
themselves, “Hallelujah!”
Yellow Jack
Loretta Bennett, 2006
Aquatint and soft-ground etching,
26½ x 26½ inches
Production courtesy of Paulson
Press
Donated by the Foundation for
Art and Preservation in Embassies
This quilt print was commissioned
by the Foundation for Art and
Preservation in Embassies from
Gee’s Bend quilters in 2006-7. It
incorporates some variation on
recurrent Gee’s Bend themes,
such as the arrangement of wood
planks in their roofs and the
fences upon which they display
their quilts.
Shapes in Space
Alexander Calder, 1946
Reproduction, including downloading of Calder works is prohibited by
copyright laws and international conventions without the express written
permission of Artists Rights Society (ARS), New York.
Gouache,
33 x 46 1/2 inches
Gift of David and Gerry Pincus,
donated by the Foundation for
Art and Preservation in
Embassies
Calder began early on to draw
animals and humans in a single
line style and then in 1926
began to make wire circus
figures in the same, single line
style. His repertoire of forms
and wires were consonant with
visions of Abstraction and
Surrealism, which prevailed in
his sculptures of the 1920s and
30s. This brilliant gouache of
solid forms in two dimensions
precedes his massive stabiles
of the 1950s and 60s.
Wrapped Reichstag
Project for Berlin
Pencil, charcoal, pastel, wax crayon,
fabric sample, aerial photograph,
and technical data, in two parts,
65 x 42 and65 x 15 inches
ⓒ Christo, 1994
Donated by Agnes Gund and Daniel
Shapiro to the Foundation for Art and
Preservation in Embassies
The artists' earliest decision about
wrapping the Reichstag was made in
1972 when Christo began to make
drawings of how it would look, adding
structural sketches and maps. Those
and this drawing were among many
works that were made to be sold to
underwrite the costs of the project.
Not until 1995 did the long process of
obtaining permissions, evaluating
materials, engineering, engaging the
Berlin community, and fund-raising
finally lead to the realization of this
mammoth project.
Christo and Jeanne-Claude: Wrapped
Reichstag, Berlin 1971-1995
CHRISTO (American, born Bulgaria, 1935) and JEANNECLAUDE
(American-French, born Morocco, 1935)
Wolfgang Volz, photographer
Photograph,
22 x 28 inches
Gift of the artists, donated by
Foundation for Art and
Preservation in Embassies (FAPE)
ⓒ Christo, 1995
Wolfgang Volz was Christo’s and
Jeanne-Claude’s Chief Executive
Officer for technical and
construction planning and
execution for their Wrapped
Reichstag project. The approval
for this project was given by a roll
call vote at the Bundestag
(parliament) in Bonn one
hundred years after Germany’s
nearly demolished seat of
democracy was built. On the
morning of June 24, 1995, when
the building was entirely
wrapped with silvery fabric and
rope, Volz photographed it and
the crowds of people attracted by
its shimmering reincarnation.
Roy
Chuck Close, 1998
Linocut,
24 3/4 x 18 7/8 inches
Gift of the artist, donated by the
Foundation for Art and Preservation in
Embassies
Many of Close’s large portrait paintings o.
his friends are initiated by dividing a
photograph of the subject by a grid. The
canvas squares of the grid are filled with
brush or finger marks, matching the light
and dark of the photograph. Though
abstract, the marks, once viewed as a
whole, come together to create the face of
the person portrayed. This portrait of the
artist Roy Lichtenstein is based on a
photograph made shortly before his death.
It consists of strings of marks which
become fewer and broken up where light
has obliterated the details.
Jefferson Memorial:
Photograph 100 cm x 128 cm
Two Columns with Arch
Frank Hallem Day, 1989
This romantic, abstracted image of the marble
edifices along the National Mall in
Washington, DC was photographed on
windless nights with very long exposures in
low light using an architectural camera and
large sheets of film. To compensate for the
extreme range in contrast between the deep
shadows and bright highlights, while
enhancing the natural grain in the marble, the
films were specially developed in a low
temperature developer and then printed with
advanced darkroom techniques on silver
gelatin roll paper. The artist's intent was to
take a fresh look at subjects long ignored by
serious artists as tourist traps. He was able to
make the overly familiar look mysterious and
evocative, in part by relying on the shadows of
foliage cast by the installed floodlighting and
in part by avoiding obvious clues as to the
building's identity. This print was first
exhibited at Kathleen Ewing Gallery in
Washington, DC, and then again at Amerika
Haus Berlin in 1996.
Jefferson Memorial:
Column with Tree
Frank Hallem Day, 1989
This romantic, abstracted image of the marble
edifices along the National Mall in
Washington, DC was photographed on
windless nights with very long exposures in
low light using an architectural camera and
large sheets of film. To compensate for the
extreme range in contrast between the deep
shadows and bright highlights, while
enhancing the natural grain in the marble, the
films were specially developed in a low
temperature developer and then printed with
advanced darkroom techniques on silver
gelatin roll paper. The artist's intent was to
take a fresh look at subjects long ignored by
serious artists as tourist traps. He was able to
make the overly familiar look mysterious and
evocative, in part by relying on the shadows of
foliage cast by the installed floodlighting and
in part by avoiding obvious clues as to the
building's identity. This print was first
exhibited at Kathleen Ewing Gallery in
Washington, DC, and then again at Amerika
Haus Berlin in 1996.
Jefferson Memorial:
Columns
Frank Hallem Day, 1989
Photograph, 128 cm x 100 cm
This romantic, abstracted image of the
marble edifices along the National Mall
in Washington, DC was photographed
on windless nights with very long
exposures in low light using an
architectural camera and large sheets
of film. To compensate for the extreme
range in contrast between the deep
shadows and bright highlights, while
enhancing the natural grain in the
marble, the films were specially
developed in a low temperature
developer and then printed with
advanced darkroom techniques on
silver gelatin roll paper. The artist's
intent was to take a fresh look at
subjects long ignored by serious artists
as tourist traps. He was able to make
the overly familiar look mysterious and
evocative, in part by relying on the
shadows of foliage cast by the installed
floodlighting and in part by avoiding
obvious clues as to the building's
identity. This print was first exhibited at
Kathleen Ewing Gallery in Washington,
DC, and then again at Amerika Haus
Berlin in 1996.
Jefferson Memorial:
Portico Corner
Frank Hallem Day, 1989
Photograph 100 cm x 128 cm
This romantic, abstracted image of the marble
edifices along the National Mall in Washington,
DC was photographed on windless nights with
very long exposures in low light using an
architectural camera and large sheets of film.
To compensate for the extreme range in
contrast between the deep shadows and
bright highlights, while enhancing the natural
grain in the marble, the films were specially
developed in a low temperature developer
and then printed with advanced darkroom
techniques on silver gelatin roll paper. The
artist's intent was to take a fresh look at
subjects long ignored by serious artists as
tourist traps. He was able to make the overly
familiar look mysterious and evocative, in part
by relying on the shadows of foliage cast by
the installed floodlighting and in part by
avoiding obvious clues as to the building's
identity. This print was first exhibited at
Kathleen Ewing Gallery in Washington, DC,
and then again at Amerika Haus Berlin in 1996.
Jefferson Memorial:
Descending Steps
Frank Hallem Day, 1989
Photograph 100 cm x 128 cm
This romantic, abstracted image of the marble
edifices along the National Mall in Washington,
DC was photographed on windless nights with
very long exposures in low light using an
architectural camera and large sheets of film.
To compensate for the extreme range in
contrast between the deep shadows and
bright highlights, while enhancing the natural
grain in the marble, the films were specially
developed in a low temperature developer
and then printed with advanced darkroom
techniques on silver gelatin roll paper. The
artist's intent was to take a fresh look at
subjects long ignored by serious artists as
tourist traps. He was able to make the overly
familiar look mysterious and evocative, in part
by relying on the shadows of foliage cast by
the installed floodlighting and in part by
avoiding obvious clues as to the building's
identity. This print was first exhibited at
Kathleen Ewing Gallery in Washington, DC,
and then again at Amerika Haus Berlin in 1996.
Gala
Gift of the Honorable
Mark Di Suvero, 2007
Ronald S. Lauder and Mrs.
Jo Carole Lauder, donated
Digital fine art print,
by the Foundation for Art
16 1/2 x 26 1/2 inches
and Preservation in
Embassies
Immense steel-beam
sculptures made by di
Suvero in France were
exhibited in the famous
Tuilleries Gardens of Paris in
1975. For the first time,
contemporary sculpture was
shown in a hallowed space
usually devoted to the works
of deceased artists. After he
returned to America, the
sculptor created Socrates
Park in Long Island City, New
York, where he and other
artists show their sculpture,
but also experiment and
create new works in open
space. To thank the major
supporters of Socrates Park,
di Suvero composed this
print combining forms from
his sculpture: steel beams
and rotating cut metal forms.
Neue Nationalgalerie,
Mies van der Rohe
Todd Eberle, 2004
Gift of the artist and
Gagosian Gallery,
donated by the
Foundation for Art and
Preservation in Embassies
Lamba print,
60 x 72 inches
Eberle has moved
between photographing
the various aspects of
celebrity lifestyles and
the more profound stasis
of architecture. In the
beginning of this century,
he produced numerous
pictures illuminating the
repetitiveness of
architectural details such
as the ceiling of one of
Berlin’s most famous
modern buildings.
Leaves
Ellsworth Kelly, 1997
Transfer lithograph on Rives BFK white
330 gram paper
36 1/2 x 29 1/2 inches
Edition of 50
ⓒ Ellsworth Kelly and Gemini G.E.L, LLC, Los Angeles EK
AX.275
Gift of the artist and Gemini G.E.L.,
donated by the Foundation for Art and
Preservation in Embassies
Kelly’s use of black is two-fold: solid, flat
forms, which may be painted or printed,
and line drawings. As a budding artist in
Paris, Kelly found his path to drawing in
the arabesques of Henri Matisse. In this
transfer lithograph the artist’s deft,
unbroken line, characteristic of all of his
plant drawings, is in perfect balance with
the sheet of white paper upon which it
was printed.
Blue Black Red Green
Ellsworth Kelly, 2001
Four color lithograph on Lanaquarelle 640 gram paper, 24 7/8 x 88 3/4 inches, edition of 45
Gift of the artist in honor of Jo Carole Lauder, donated by the Foundation for Art and
Preservation in Embassies
ⓒ Ellsworth Kelly and Gemini G.E.L, LLC, Los Angeles EK AX.275, EK AX 293
Since the 1960s, Ellsworth Kelly has used sharp edged forms of solid colors as basic elements
in his paintings, prints and sculptures. Large monochrome canvases accentuate many new
buildings whose walls happily accept their domination. The four large panels that seem to fly
through the air in the foyer of the Paul Lobe House of the Deutscher Bundestag have also
found a place within this exceptional print where their perch on a ground of white paper holds
them steady.
Berlin Totem
Ellsworth Kelly, 2008
Stainless Steel,
40 feet x 4 feet x 8 inches
Edition of 1
ⓒ Ellsworth Kelly, EK 968
The sculpture was a gift of the
artist and made possible by the
generosity of Nancy Lee and
Perry R. Bass, with additional
support from the Foundation
for Art and Preservation in
Embassies.
Totem is from an Ojibwa phrase
meaning “his totem”, which
may be a family emblem, a
reference to ancestry, or simply
a revered symbol. While Kelly’s
Berlin Totem does not refer to
ancestors, its steel monolith
conveys an aura of pioneer
strength. It is not surprising
that the use of the word totem
began in the founding year of
the United States, in 1776.
ART
Robert Indiana, 1992
Vinalhaven Press
Etching, 16 x 15 inches
Donated by the Foundation for Art
and Preservation in Embassies
Of the Pop Artists whose work
transformed the values used to
define the appreciation of art,
Indiana chose his subjects from the
signs of the time: EAT, LOVE, ART. Of
all, his manipulation of the four
letters of LOVE became world
famous through prints, sculptures
and American postage stamps. This
playful version of ART was created
to benefit the print collection of the
Museum of Modern Art, New York.
Reproduction, including downloading of Indiana,
works is prohibited by copyright laws and international
conventions without the express written permission
of Artists Rights Society (ARS), New York.
Untitled
Jasper Johns, 1999
Universal Limited Art Editions Intaglio,
23 1/2 x 31 1/8 inches
Art ⓒ Jasper Johns and ULEA/Licensed by VAGA, New York, NY
Gift of the artist, donated
by the Foundation for Art
and Preservation in
Embassies
When Johns was
commissioned to make a
print for U.S. embassies he
had just introduced a new
element into his work, a
string attached at two
places, which fell into a
catenary curve, a form
generally applied to the
cables in suspension
bridges. Other images in
this print, i.e. his
grandfather’s family, a
galaxy motif, a detail of the
American flag, and a
diamond pattern borrowed
from a harlequin costume
in a Picasso painting, are
specific memories that the
artist connects by the
graceful fall of a simple
string.
Supermarket Flora
Jacob Lawrence, 1997
Lincoln Center/List Poster and Print Program
Screenprint, 35 x 26 3/4 inches
Gift of Sheila W. and Richard J. Schwartz, donated by the
Foundation for Art and Preservation in Embassies
The WPA Fine Arts Project sustained
many American artists during the
depression, some of whom would later
dominate modern art internationally.
Lawrence was a product of Harlem in
New York City, and studied and painted
there. In the early 1940s, he embarked
on the first of several series of small
paintings that presented the migration to
the North of African-Americans and the
lives of prominent African-Americans.
Although his paintings had a folk element
to them, his structured compositions
derived from Cubism, transforming
perspective and reality.
Reproduction, including downloading of Lawrence works is
prohibited by copyright laws and international conventions
without the express written permission of Artists Rights
Society (ARS), New York.
Broken Parts
Annette Lemieux, 1989
Latex, acrylic, and pencil on canvas, 120 x 86 inches
Gift of Barbara and Richard S. Lane,
donated by the Foundation for Art and
Preservation in Embassies
Appropriation of existing images, artistic
and historic, was a serious response to
both the current situation of art in the
1980s and a need to comment on it and
the past. Lemieux enlarged and altered an
old photograph of children listening to the
vibrations of a piano and added a vertical
rectangle with nothing on it to where the
music would have been. That the children
may be deaf or their world together may
end is left to the title.
Wall Drawing #1256: Five Pointed Stars
Sol LeWitt, February 2008
Acrylic Paint, 15 x 30 feet
First drawn by: Nicolai Angelov, Alvar Beyer, Annette Haas, Daniel Schoernig, Wim Starkenburg. Gift of the artist, and made possible by
the Honorable Ronald S. Lauder and Mrs. Jo Carole Lauder. Gift of Foundation for Art and Preservation in Embassies (FAPE)
Early in the development of the new Berlin Embassy, Sol LeWitt was invited to create one of his wall
drawings for its entrance. In 2004, he presented his design for the Behrenstrasse entrance, a
composition that was sure to draw attention. The exacting pattern follows the outline of a five pointed
star: one side in black and white and the other in brilliant colors. LeWitt’s wall drawings usually evolve
from a set idea that gives directions to those who actually paint or draw the work. The idea of stars as
guiding lights may not have been the artist’s, but they will inevitably be seen that way. An earlier
composition of lines going off at angles from several points was popularly know as “Star Wars.”
Lincoln Center Print
Sol LeWitt, 1998
Lincoln Center/List Poster and Print Program
Screenprint, 38 x 30 inches
Gift of Sheila W. and Richard J. Schwartz,
donated by the Foundation for Art and
Preservation in Embassies
Among the conceptual artists whose work
was often filled with words and empty of
emotion, LeWitt’s wall drawings and prints.
while following planned and exact
instructions, exceeded their organized
beginnings with their attractive lines and
colors (usually limited to red, yellow and
blue). In the last decade of his life, LeWitt
worked in a broader palette, creating
strongly patterned wall drawings and
prints that, like this one, were suitably eye-
catching as posters.
Reflections on Soda Fountain
Roy Lichtenstein, 1991
Screenprint , 37 5/8 x 38 1/2 inches
Gift of the Brown Foundation, Inc.,
Houston, donated by the
Foundation for Art and
Preservation in Embassies.
Production courtesy of Gemini
G.E.L.
In 1988, this Pop Artist began a
series of paintings and prints that
dealt with reflections. The subject
in each composition is broken up,
shown indirectly as if in a mirror. By
introducing his familiar patterns of
dots and lines, Lichtenstein distorts
the representation of a familiar,
now nearly unknown American
past-time --drinking an ice cream
soda at the counter of a soda
fountain.
Composition III
Roy Lichtenstein, 1995
Gemini G.E.L., Screenprint, 50 1/4 x 34 7/8 inches
Gift of the artist and Gemini G.E.L., donated by
the Foundation for Art and Preservation in
Embassies
The first print commissioned directly by FAPE for
its Lee Kimche McGrath Original Print Collection
was the last of three prints the artist composed of
musical staves that wrap around each other.
Characteristic dots and lines fill
in the background, while notes, rather than
representing a specific piece of music, fly around
like inventive jazz riffs. Although harmony might
have been a possible theme for his print,
Lichtenstein often selected subjects that
contained elements of surprise, noise, and action.
Oval Office
Roy Lichtenstein, 1992
Ronald Feldman Fine Arts
Screenprint, 35 3/4 x 45 1/4 inches
Donated by the Foundation
for Art and Preservation in
Embassies
Commissioned by the
Artists for Freedom Project
to benefit the Democratic
National Committee,
Lichtenstein created his
concept of the President’ν
office. Having done
research on the many ways
the office had been
decorated over the years,
he translated the furniture
and pictures to those of his
taste. The image was used
for campaign buttons as
well as to celebrate the
election of President
Clinton. A year after the
election, Lichtenstein again
painted the same subject.
Man Ray’s Portrait
Christopher Makos, 1976
Silverprint, 16 x 20 inches
Donated by the Foundation
for Art and Preservation in
Embassies
A photographer of
celebrities for Andy Warhol’s
Interview magazine who is
said to have taught Warhol
how to use a camera, Makos
has also published books
filled with selections of his
many photographs of the
artist. As a young man
Makos had spent some time
in the Paris studio of the
American expatriate artist,
Man Ray. In 1990, to
commemorate Man Ray’s
centennial, Makos produced
an album that included this
photograph of him, taken
shortly before his death
when he was 86.
Orange Lyric
Robert Motherwell, 1989
Waddington Graphics, Inc.
Carborundum aquatint, 25 x 31 inches
Art ⓒ Dedalus Foundation, Inc./Licensed by VAGA, New York, NY
Donated by the Foundation
for Art and Preservation in
Embassies
Among his last prints,
Motherwell, one of America’ν
most prominent abstract
painters made a group of
aquatints using carborundum
for its granular texture. He had
his own printmaking facilities
and printer, allowing him to
continue experimenting with a
variety of materials. The title
evokes his fascination with
poetry and his dedication to
creating images to accompany
it.
Deep Blue C
Elizabeth Murray, 2001
Gemini G.E.L.
Lithograph and screenprint, 28 x 43 1/2 inches
Gift of the artist and Gemini
G.E.L., donated by the
Foundation for Art and
Preservation in Embassies
In her paintings, Murray
activated the liveliness that
cartoonists produce with
easily read symbols. Dogs fall,
cups spill, table legs collapse,
all creating a kind of havoc
which was given even more
force when the normally
square or rectangular canvas
followed the shapes of the
subjects. A number of
Murray’s prints were cutouts
or made of several
oddly shaped sheets, some
folded, curved, or
sandwiched. The humor of
this print’s title is how it
conveys multiple meanings:
Deep Blue C[up] = deep blue
sea = tempest in a teacup.
Berlin Wall Fragment:
Homage to Eternal Youth
Thierry Noir (artist.French, 1958)
February 2008 (restored)
Gift of Dr. Friedhelm Kruger-Sprengel
This segment of the Berlin Wall, originally
erected in 1961 on Potsdamer Platz, was
painted in 1987. This fragment of the
painting, which extended over numerous
wall segments, was restored in 2008 upon
its installation at the US Embassy. The wall
paintings by T. Noir were intended not to
embellish the wall separating East and
West Berlin, but to demystify it. This wall
painting appeared prominently in the film
“Wings of Desire.”
Bricklayer
Loretta Pettway, 2007
Aquatint and soft-ground etching, 38 x 30 inches
Paulson Press
Donated by The Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder to
the Foundation for Art and
Preservation in Embassies
This quilt print was commissioned by
the Foundation for Art and
Preservation in Embassies from Gee’ν
Bend quilters in 2006-7. It incorporates
some variation on recurrent Gee’s
Bend themes, such as the
arrangement of wood planks in their
roofs and the fences upon which they
display their quilts.
Red Lake
Ellen Phelan, 2007
Laumont Editions Iris
35 x 47 inches
Gift of Philippe Laumont,
donated by the
Foundation for Art and
Preservation in
Embassies
Phelan’s early figurative
and landscape works
frequently had a
mysterious aura about
them. Dolls and forests
seemed to emerge from
the dark like memories or
dreams. Some twenty-
five years later, in a series
of prints, she has focused
upon the waterscape of
Lake Champlain in the
Adirondack Mountains of
New York. Manipulating
her digital photographs,
she has captured in
muted tones its magic
serenity.
Dawn Light
Ellen Phelan, 2007
Laumont Editions Iris
35 x 47 inches
Gift of Philippe Laumont,
donated by the
Foundation for Art and
Preservation in
Embassies
Phelan’s early figurative
and landscape works
frequently had a
mysterious aura about
them. Dolls and forests
seemed to emerge from
the dark like memories or
dreams. Some twenty-
five years later, in a series
of prints, she has focused
upon the waterscape of
Lake Champlain in the
Adirondack Mountains of
New York. Manipulating
her digital photographs,
she has captured in
muted tones its magic
serenity.
Clouds Reflected
Ellen Phelan, 2007
Laumont Editions Iris
35 x 47 inches
Gift of Philippe Laumont,
donated by the
Foundation for Art and
Preservation in
Embassies
Phelan’s early figurative
and landscape works
frequently had a
mysterious aura about
them. Dolls and forests
seemed to emerge from
the dark like memories or
dreams. Some twenty-
five years later, in a series
of prints, she has focused
upon the waterscape of
Lake Champlain in the
Adirondack Mountains of
New York. Manipulating
her digital photographs,
she has captured in
muted tones its magic
serenity.
Far Field
Ellen Phelan, 2007
Laumont Editions Iris
35 x 47 inches
Gift of Philippe Laumont,
donated by the
Foundation for Art and
Preservation in
Embassies
Phelan’s early figurative
and landscape works
frequently had a
mysterious aura about
them. Dolls and forests
seemed to emerge from
the dark like memories or
dreams. Some twenty-
five years later, in a series
of prints, she has focused
upon the waterscape of
Lake Champlain in the
Adirondack Mountains of
New York. Manipulating
her digital photographs,
she has captured in
muted tones its magic
serenity.
Dog Tags
Robert Rauschenberg, 1996
Vegetable dye transfer, 60 1/2 x 94 3/4 inches
Art ⓒ Estate of Robert Rauschenberg / Licensed by VAGA, New York, NY
Gift of the Honorable Ronald S.
Lauder and Mrs. Jo Carole Lauder,
donated by the Foundation for Art
and Preservation in Embassies
A master of many mediums,
collage in painting, printmaking,
and sculpture is predominant in
Rauschenberg’s art. Much of his
work consisted of transferring
photographic images to other
surfaces using silkscreen on canvas
or lithographic stones to print on
paper. Starting in the 1990s, he
selected images from a vast
archive of photographs, his own
and others, printed them digitally,
and then transferred portions of
the prints directly onto a sheet of
paper by pressing them on areas
brushed with water where he
wanted the print’s pigment to
adhere. This work is an amalgam
of signs and part of a series of very
large and unique compositions the
artist called Anagrams.
Domicile
Robert Rauschenberg, 1996
Universal Limited Art Editions Lithograph, 41 x 27 1/8 inches
Art ⓒ Estate of Robert Rauschenberg and ULEA / Licensed by VAGA, New York, NY
Gift of the artist, donated by the Foundation
for Art and Preservation in Embassies
For this print commissioned by FAPE in 1996,
Texas-born Rauschenberg produced a two
panel composition that melds photographs
of aspects of older and contemporary
American architecture, a space rocket
platform, automobile tail lights, and other
signs of home, together with an American
flag. In the lower panel two enormous
American Beauty roses overshadow a
sunbather and a Southern belle.
Nautilus 5
Nancy Sansom Reynolds, 2006
Gift of the Foundation
for Art and Preservation
in Embassies (FAPE)
Touchstone
Dorothea Rockburne, 1988
Novak Studios
Lithograph, 57 1/2 x 42 inches
Gift of the artist, donated by the
Foundation for Art and Preservation in
Embassies
The title of Rockburne’s print is, basically, .
double entendre. The artist, in creating her
image has touched the stone, that is, the
lithographic stone. Before drawing an
image on the stone it is first ground down
with grit so that the previous image is
totally obliterated. A fairly coarse grit
produces a grainy surface which, once the
image is drawn onto it, is similarly textured
like its subject, a touchstone. A real
touchstone is used to verify that the piece
of gold that has scratched its surface is real;
the metallic ink used on this print elicits a
comparable idea.
The Stars and Stripes
At the Speed of Light
James Rosenquist, 2000
Derriere L’Etoile Studio, Lithograph, 45 x 30 1/2 inches
Gift of the artist, donated by the Foundation for
Art and Preservation in Embassies
Once a billboard painter, Rosenquist understood
the potent effect of size, brilliant color and
simple forms. Everything on billboards had to be
quickly understood by those passing by. When
the artist read about a scientist who had
discovered that the speed of light could be
slowed down, it had as important an influence
on his work as man’s appearance on the moon.
With only the stars and stripes of the American
flag, Rosenquist demonstrates how this change
in scientific law can alter the way we see our
most enduring symbol.
High Desert
Susan Rothenberg, 2006
Gemini G.E.L.
Woodcut, lithograph, and screenprint, 37 1/2 x 40 1/2 inches
Gift of the artist and Gemini G.E.L.,
donated by the Foundation for Art
and Preservation in Embassies
Much of Rothenberg’s work, in
painting as well as print, refers to
movement and even sound. Horses,
skaters, and performers have been
some of her subjects. After she
moved to her husband’s ranch in
New Mexico in 1990, her
experiences there inevitably fed into
her work. In this print, the glaring
yellow of the desert sun creates the
stage for a confrontation: a barking
dog guards a fence as an intruder
winds its way through it.
Reproduction, including downloading of Rothenberg
works is prohibited by copyright laws and
international conventions without the express
written permission of Artists Rights Society (ARS),
New York.
Column with Speed Lines
Ed Ruscha, 2003
Lithograph and screenprint. 35 1/2 x 24 inches
Gift of the artist and Gemini G.E.L., donated by
the Foundation for Art and Preservation in
Embassies
His early work as a commercial artist prepared
Ruscha for his innovative, photographic artists
books in the 1960s, and his adoption of
screenprint for a series of large prints of Standard
Oil gas stations (1966). In later works he
composed horizons, often made up of parallel
lines, with a figure or word added. In this print
the horizontal lines in red, white and blue, are
those of passing cars behind a transparent
column of classic, government style.
US
Ed Ruscha, 1994
Mixografia, 23 1/2 x 32 inches
Gift of the Brown
Foundation, Inc., Houston,
donated by the Foundation
for Art and Preservation in
Embassies
The California artist has
often made single words the
sole image in his drawings,
paintings and prints. In this
work the title is ambiguous:
is it “us” (in the hay) or an
abbreviation for the United
States (waving grains), as in
the song, “America th.
Beautiful?” An unusuaΜ
technique of making a metal
cast as the printing matrix
has produced both the hazy
US as well as the wheat in
low relief.
Wedgewood
Ben Schonzeit, 1994
Lincoln Center/List Poster and Print Program
Screenprint, 34 x 48 3/4 inches
Gift of Sheila W. and Richard J.
Schwartz, donated by the
Foundation for Art and
Preservation in Embassies
Of the many artists in the
1970s who concentrated on
emphasizing reality, through
magnified detail and mass,
Schonzeit created immense,
crowded compositions. He
also produced hyper-real stilllifes
in the classic Dutch style.
Twenty years after the Super
Realist painters made their
impact, this isolated pitcher
of roses retains the elements
of size and detail, but the
print’s misspelled title hints
that it is not real but fake.
Modern Office (with workers)
Laurie Simmons, 1998
Ilfochrome, 26 7/8 x 39 5/8 inches
Gift of B.Z. and Michael
Schwartz, donated by the
Foundation for Art and
Preservation in Embassies
In her arranged photographs,
Simmons records the purpose
of her art: “My ‘found’ imageν
have always been visual
substitutes for the present.” Foι
her, the feminist movement had
to be examined and expressed
in art, so her small boxes filled
with furniture and inhabited by
dolls were surrogates for reality.
Isolated and emptied of the
warmth of humanity, once
photographed, these “rooms.
became a critique of society
itself.
Orange and Green
Pat Steir, 1991
Crown Point Press, Aquatint, 27 5/8 x 22 1/4 inches
Gift of the Brown Foundation, Inc.,
Houston, donated by the Foundation for
Art and Preservation in Embassies
Steir frequently made prints at Crown
Point’s California workshop where sh.
encountered John Cage whose prints as
well as music were frequently based on
chance. His influence and her
subsequent working visits to printers in
Japan altered her approach to both
painting and printmaking. In 1988, a
series of dense, waterfall prints made
from dripping acid on copperplates was
succeeded by compositions that gave
more visibility to the process.
Sunlight on Water I
Pat Steir, 1996
Aquatint and drypoint, 45 x 44 1/2 inches
Gift of the Brown Foundation,
Inc., Houston, donated by the
Foundation for Art and
Preservation in Embassies
Two large prints in which Steir
utilized a reverse etching
process present a subtle
transcription of how surfaces
appear. Spatters flung on the
plates echo the artist’s
movement in producing them.
They appear to sit on the
surface of the “water” whil.
other shapes seem to float
below.
Sunlight on Water II
Pat Steir, 1996
Aquatint and drypoint, 45 x 44 1/2 inches
Gift of the Brown Foundation,
Inc., Houston, donated by the
Foundation for Art and
Preservation in Embassies
Two large prints in which Steir
utilized a reverse etching
process present a subtle
transcription of how surfaces
appear. Spatters flung on the
plates echo the artist’s
movement in producing them.
They appear to sit on the
surface of the “water” whil.
other shapes seem to float
below.
Reproduction, including downloading of
Joseph Beuys
Warhol works is prohibited by copyright laws
and international conventions without
the express written permission of Artists
Andy Warhol, 1980
Rights Society (ARS), New York.
Editions Schellmann & Kluser, Three screenprints, each 44 x 30 inches
Donated by the Foundation for Art and Preservation in Embassies
During the retrospective exhibition in New York of the works of post-war Germany’s most
prominent artist, Warhol was commissioned to make a series of portraits of Joseph Beuys.
The radical artist-performer-teacher’s sincere face, topped by his ever-present hat, emerges
from densely black paper which Warhol used in 1979-80 for his Shadows and Shoes series
which, like two of the Beuys portraits, have been sprinkled with diamond dust.
Flowers (Black and White)
Andy Warhol, 1974
Screenprint, 40 7/8 x 27 1/4 inches
Peter M. Brant, Castelli Graphics, and
Multiples, Inc., New York
Gift of the Brown Foundation, Inc., Houston,
donated by the Foundation for Art and
Preservation in Embassies
In his early years as an artist, Warhol made
linear drawings for advertisements and story
books. His Pop Art works were, for the most
part, screenprints after photographs. When
he created these black and white prints, he
had already begun to add drawing to his
borrowed images, the first of which were
the colorful screenprinted series portraying
Mao Tse Tung (1972).
Reproduction, including downloading of Warhol works is
prohibited by copyright laws and international conventions without
the express written permission of Artists Rights Society (ARS), New
York.
Flowers (Black and White)
Andy Warhol, 1974
Screenprint, 40 7/8 x 27 1/4 inches
Peter M. Brant, Castelli Graphics, and Multiples,
Inc., New York
Gift of the Brown Foundation, Inc., Houston,
donated by the Foundation for Art and
Preservation in Embassies
In his early years as an artist, Warhol made linear
drawings for advertisements and story books. His
Pop Art works were, for the most part, screenprints
after photographs. When he created these black
and white prints, he had already begun to add
drawing to his borrowed images, the first of which
were the colorful screenprinted series portraying
Mao Tse Tung (1972).
Reproduction, including downloading of Warhol works is prohibited by
copyright laws and international conventions without the express written
permission of Artists Rights Society (ARS), New York.