Jane Hammond (American, b. 1950) Body Language, 2001 Digital pigment print on rice paper ed. 40 of 100 Signed and dated in pencil Jane Hammond 2001, lower right Image measures 41 x 19 (in). Auction label, verso.
SIX WISHES Six relief prints with pochoir, 1999, on Japan paper, the sixth print signed, dated and numbered 18/25 in pencil, published by Pace Editions, New York, with full margins, framed together. Sheets 9 5/8 x 10 5/8 inches; 244 x 270 mm. Frame 31 1/4 x 44 3/4 inches; 794 x 1136 mm. Some creasing (from the printing process?), otherwise in apparently good condition, unexamined out of the frame, framed with acrylic.
JANE HAMMOND (B. 1950) Part Time in the Library, 2000 signed, titled and dated 'Jane Hammond 'Part Time in the Library' 2000' (on the reverse) oil on canvas 74 x 98 in. 188 x 248.9 cm.
Jane Hammond Love Laughs 2005 lithograph in colors with hand-coloring and collage 51.25 h x 33.625 w in (130 x 85 cm) Signed, titled, dated and numbered to lower right 'Love Laughs Jane Hammond '05 Patron Impression 2/4'. This work is patron impression 2 of 4 apart from the edition of 45 published by Shark's Ink, Lyons, CO. This work will ship from Lambertville, New Jersey.
Jane Hammond Spells + Incantations 2007 lithograph and screenprint in colors with Chine-colle and gold leaf 58 h x 17 w x 11.25 d in (147 x 43 x 29 cm) Signed, titled, dated and numbered to underside 'Jane Hammond 2007 Spells + Incantations Pat Imp 2/4'. This work is patron impression 2 of 4 apart from the edition of 45 published by Shark's Ink, Lyons, CO. This work will ship from Lambertville, New Jersey.
Jane Hammond Red Head 1995 mixed media on rice paper 37.125 h x 30 w in (94 x 76 cm) Provenance: Zolla Lieberman Gallery, Chicago | Collection of Michael and Sandra Perlow This work will ship from Chicago, Illinois.
Jane Hammond Untitled (Green Rushmore) 1999 ink and watercolor on paper 21 h x 18.375 w in (53 x 47 cm) Signed, titled and dated to lower edge 'Untitled (Green Rushmore) Hammond 99'. This work will ship from Lambertville, New Jersey.
"Six Wishes", 1999, relief print with pochoir, 3/25, published by Pace Editions. Each sheet is 9-1/2"T x 10-1/2"W, framed sight size apprx 22"T x 36-1/2"W, framed under glass overall 30-1/2" x 44-1/2". Condition: not examined out of framing, purchased from pace Editions by owner, excellent condition.
SIX WISHES Six relief prints with pochoir, 1999, on Japanese paper, the sixth print signed, dated and numbered 18/25 in pencil, published by Pace Editions, New York, with full margins, framed together. Sheets 9 5/8 x 10 5/8 inches; 244 x 270 mm. Frame 31 1/4 x 44 3/4 inches; 794 x 1136 mm.
American, b. 1950 Loose Tapestry of Daily Life (Wishbone), 2011 Signed and dated Hammond 2011 (lr) Sumi ink and silver leaf on assorted archival papers 31 1/2 x 21 1/2 inches (80 x 54.6 cm) Provenance: Galerie Lelong, New York (Framed 38 3/4 x 32 1/2 inches) Qty: (1)
Love Laughs lithograph with hand-coloring and collage, 2005, singed, dated, titled and numbered 29/45 in pencil, published by Shark's Ink. 51 3/4 x 33 3/4"
"Roland Garros French Open" by Jane Hammond, 2003 Unsigned Offset Lithograph. Paper size is 28.75 x 23.25 inches, with an image size of 27.5 x 21.5 inches. The Offset Lithograph is from an edition size of 2000 and is not framed. The condition was rated A: Mint. Additional details: Official poster designed and created for the tennis tournament held at Roland Garros French Open every year. The poster is a limited edition of 2000. First edition, unsigned and not numbered.
Artist: Jane Hammond, American (1950 - ) Title: Body Language Year: 2001 Medium: Pigmented digital Print, signed, numbered, and dated in pencil Edition: 100 Image Size: 41 x 19 inches Size: 47.5 x 24.5 in. (120.65 x 62.23 cm)
JANE HAMMOND (American b .1952 -) Untitled - 1989 Monotype Pencil signed and dated lower right and titled and editioned 1/1 lower left Image size 22 inches x 25 inches, contained in a glazed frame overall measuring 33.75 inches x 36.5 inches SHIPPING NOTICE: Jackson's is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction.com or call 1-800-665-6743. Jackson's can expertly pack and ship to meet any of your needs. To ensure quality control Jackson's DOES NOT release to third party shippers.
Jane Hammond (American b. 1950) 'The Human Condition Revisited' 1994 Mixed media on canvas. Signed, dated verso. 88in. (224cm) w. 89in. (226cm) h. Lot accompanied by a catalog 'Jane Hammond, Paper Work' Published by Mount Holyoke College Art Museum, 2007. According to a 2002 article in the New York Times, "Ms. Hammond [aims] to make paintings 'as complicated, inconsistent, varied, multifaceted as you are, as I am, as life is.... I think my work deals very directly with the time that we live in,' Ms. Hammond said. 'There's a surfeit of information, increasingly bodiless because of the computer, and I bring to this an interest in how meaning is constructed'
JANE HAMMOND American, (b. 1950) "Untitled", 1989 collaged monoprint signed and dated in pencil lower right "J. Hammond '89", numbered and titled in pencil lower left "1/1"
Work is titled "Science and Sound." Exhibition label to reverse: Orlando Museum of Art, "Jane Hammond: Artist as Magician," 1994-1995. Provenance: Estate of Texann Ivy Buck, Orlando, Florida. Gallerist and appraiser Texann Ivy Buck was active in the Central Florida art scene for many years and was honored as part of the Art Legends of Orange County project in 2015-2016.
Jane Hammond (b. 1950) The Painted Hand, 1995 Mixed media on rice paper 38-1/2 x 36-1/4 inches (97.8 x 92.1 cm) (sheet) Property from a Private West Coast Collection HID01801242017
Jane Hammond (1950) Full House, 1993 Etching, drypoint, aquatint, screen print and lithograph in colors with collage/wove paper From the numbered edition of 32 Signed, dated, numbered on recto Published by Universal Limited Art Editions, West Islip, New York, with their blindstamp, the full sheet Provenance: Estate of Harlan Lee Image: 78 ⅜ x 51 inches Framed: 83 x 55 inches
Jane Hammond (American, b.1950) 'Atlas' Giclee Construction 2022, pencil signed lower left in cartouche, from an edition of 100, layered paper image of an Atlas moth floated using foam tape above a map of Borneo; accompanied by a signed documentation sheet provided to the Madison Print Club, WI; unframed Property from: a Madison, WI estate Category: Fine Art > American Paintings Estimated Sale Time: 11:43 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Sales Tax: California (7.25%), Florida (6%), Georgia (8.5%), Kansas (6.5%), New Jersey (6.625%), New Mexico (5.125%), New York (8.875%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs: Photograph #1 Photograph #2 Last modified: September 29, 2022, 2:40 pm
**Originally Listed At $4000** Jane Hammond (American, b. 1950). "Love Laughs" - color lithograph w/ hand coloring and collage, 2005. Signed, numbered 21/45, and dated in pencil by the artist on a petite hanging sign that is part of the artwork on the lower right. Published by Shark's Ink (Lyons, Colorado). A remarkable collage of color lithographs on bark paper with hand coloring in colored pencil and gouache on a 'lace' lithograph in gray on white wove paper, "Love Laughs" presents 18 distinct scenes - a surrealistic array of rooms with bizarre inclusions of figures and animals - within a dollhouse-like edifice. The arrangement is eclectic, with figures and objects unusually placed in Hammond's bizarrely delineated spaces. Realistic representation is clearly not Hammond's goal, as she playfully interprets scale and imagery to distort our comprehension of the space. In addition, Hammond employs vibrant colors to amplify the fantastical quality of her imagery. Clever statements accompany each scene and inject humor and layers of meaning. Contributing further to the exceptional quality of this piece is the workmanship as well as the framing. The ensemble of scenes was meticulously and skillfully hand-colored, hand-cut, and collaged over a printed "lace" background. The framing is remarkable in that there are no mitered corners; instead, the frame is one contiguous piece! Size: 51.25" L x 33.75" W (130.2 cm x 85.7 cm) Frame: 59.75" L x 42.625" W (151.8 cm x 108.3 cm) The spaces are framed by columns or pipes that appear to simultaneously separate yet bridge the scenes. Altogether, this maze-like construction forms a dollhouse-like edifice that allows the viewer to witness the various episodes. Some have interpreted these scenes as references to Hammond's interior world of self-discovery. Among the iconographical images, Hammond presents a pair of monkeys, one holding an apple behind its back, the pair perhaps embracing or wrestling beside a large rose in a Renaissance inspired colonnaded setting and accompanied by the statement, "He who wants fruit should not pick flowers"; a horned severed devil's head scooped up in a spoon that is held by an enormous hand accompanied by the text, "He who sups with the devil should have a long spoon"; a seated figure with a Kabuki actor tattooed on his back, sitting within a glass cube and surrounded by very large bees accompanied by the text, "He who wants to eat honey should endure the stings." Hammond's appetite for the strange is seemingly endless as various jesters and clowns, flora and fauna, pieces of food and unexpected objects, ethnographic artworks, and whimsical entities abound. Finally, the title of the piece is referenced on a heart-shaped pendant that reads "Love Laughs at locksmiths" and dangles from a lock attempting to be opened by a woman who is seemingly suspended in mid-air. This piece is accompanied by a signed statement from the renowned printer, Bud Shark (also known as Herman R. Shark or Herman Shark - American, b. 1946). The following is an excerpt from Shark's statement that delineates the printing technique employed to create this piece, "A nine color lithograph with hand-coloring on Papel Amate that has been collaged onto a one color lithograph on white Rives BFK. The "Love Laughs" edition has been printed from 9 aluminum plates made from mylars that were created by the artist drawing by hand with pencils, toner and ink washes; and Xerox transfers. The edition was proofed and printed by Master printer Bud Shark, assisted by Evan Colbert, between September 19th and November 30th, 2005. The edition consists of 45 numbered impressions, 7 Artist's proofs, 2 Printer's proofs, 3 Workshop proofs, 1 B.A.T., 4 Patron's impressions, 1 Archive impression and 2 Trial proofs. The prints have been printed on handmade Papel Amate and Rives BFK papers. After printing the Amate sheet has been backed with Thai Mulberry paper and hand-cut by Roseanne Colachis to follow a printed lace pattern. The cut out Amate sheet has then been collaged to the Rives BFK lace sheet. The overall dimensions of the print are 51 1/4" x 33 3/4". / Each print has been hand colored, signed and numbered by the artist in pencil. All plates, mylars, Xeroxes and other impressions have been defaced or destroyed." Born in Bridgeport, Connecticut, Jane Hammond received her BA from Mount Holyoke College, an MFA from Arizona State University, and another MFA from University of Wisconsin-Madison. Her work has been collected by many museums including the Albertina in Vienna, Austria; the Addison Gallery of American Art in Andover, Massachusetts; Albright-Knox Art Gallery in Buffalo, New York; Amon Carter Museum of American Art in Fort Worth, Texas; Art Institue of Chicago; Brooklyn Museum of Art; Corcoran Gallery of Art, Washington D.C.; Cranbrook Art Museum, Bloomfield Hills, Michigan; the Detroit Institute of the Arts; the deYoung Museum in San Francisco, California; the Fogg Art Museum, Harvard University; J. Paul Getty Museum, Los Angeles, California; Metropolitan Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York City; National Gallery of Art, Washington, DC; National Museum of Women in the Arts, Washington, DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum, Washington, DC; The Whitney Museum of American Art and the list goes on! What's more Jane Hammond's "Love Laughs" was acquired by the Metropolitan Museum of Art in New York City (accession number 2006.51) and exhibited at "The Metropolitan Museum of Art. 'Drawings and Prints: Selections from the Permanent Collection,' April 13, 2009 - July 12, 2009.' Another was collected by the Art Institute of Chicago (2018.427). Provenance: private Mooresville, North Carolina, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #169950
Jane Hammond (American, b. 1950) Untitled (191, 41, 15, 124, 56, 144, 23, 48, 142, 120, 164, 68, 125), 1989 oil on canvas signed Jane Hammond, titled and dated (verso) 76 x 70 inches. Property from the Collection of Kempf Hogan, Birmingham, Michigan Provenance: Zolla/Lieberman Gallery, Chicago
Jane Hammond (American, b. 1950) Love Laughs, 2005 handcolored lithograph with collage signed, titled, dated and numbered 30/45 in pencil 50 x 33 inches. Property from the Collection of Kempf Hogan, Birmingham, Michigan
**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding. Jane Hammond (American, b. 1950). "Love Laughs" - color lithograph w/ hand coloring and collage, 2005. Signed, numbered 21/45, and dated in pencil by the artist on a petite hanging sign that is part of the artwork on the lower right. Published by Shark's Ink (Lyons, Colorado). A remarkable collage of color lithographs on bark paper with hand coloring in colored pencil and gouache on a 'lace' lithograph in gray on white wove paper, "Love Laughs" presents 18 distinct scenes - a surrealistic array of rooms with bizarre inclusions of figures and animals - within a dollhouse-like edifice. The arrangement is eclectic, with figures and objects unusually placed in Hammond's bizarrely delineated spaces. Realistic representation is clearly not Hammond's goal, as she playfully interprets scale and imagery to distort our comprehension of the space. In addition, Hammond employs vibrant colors to amplify the fantastical quality of her imagery. Clever statements accompany each scene and inject humor and layers of meaning. Contributing further to the exceptional quality of this piece is the workmanship as well as the framing. The ensemble of scenes was meticulously and skillfully hand-colored, hand-cut, and collaged over a printed "lace" background. The framing is remarkable in that there are no mitered corners; instead, the frame is one contiguous piece! Size: 51.25" L x 33.75" W (130.2 cm x 85.7 cm) Frame: 59.75" L x 42.625" W (151.8 cm x 108.3 cm) The spaces are framed by columns or pipes that appear to simultaneously separate yet bridge the scenes. Altogether, this maze-like construction forms a dollhouse-like edifice that allows the viewer to witness the various episodes. Some have interpreted these scenes as references to Hammond's interior world of self-discovery. Among the iconographical images, Hammond presents a pair of monkeys, one holding an apple behind its back, the pair perhaps embracing or wrestling beside a large rose in a Renaissance inspired colonnaded setting and accompanied by the statement, "He who wants fruit should not pick flowers"; a horned severed devil's head scooped up in a spoon that is held by an enormous hand accompanied by the text, "He who sups with the devil should have a long spoon"; a seated figure with a Kabuki actor tattooed on his back, sitting within a glass cube and surrounded by very large bees accompanied by the text, "He who wants to eat honey should endure the stings." Hammond's appetite for the strange is seemingly endless as various jesters and clowns, flora and fauna, pieces of food and unexpected objects, ethnographic artworks, and whimsical entities abound. Finally, the title of the piece is referenced on a heart-shaped pendant that reads "Love Laughs at locksmiths" and dangles from a lock attempting to be opened by a woman who is seemingly suspended in mid-air. This piece is accompanied by a signed statement from the renowned printer, Bud Shark (also known as Herman R. Shark or Herman Shark - American, b. 1946). The following is an excerpt from Shark's statement that delineates the printing technique employed to create this piece, "A nine color lithograph with hand-coloring on Papel Amate that has been collaged onto a one color lithograph on white Rives BFK. The "Love Laughs" edition has been printed from 9 aluminum plates made from mylars that were created by the artist drawing by hand with pencils, toner and ink washes; and Xerox transfers. The edition was proofed and printed by Master printer Bud Shark, assisted by Evan Colbert, between September 19th and November 30th, 2005. The edition consists of 45 numbered impressions, 7 Artist's proofs, 2 Printer's proofs, 3 Workshop proofs, 1 B.A.T., 4 Patron's impressions, 1 Archive impression and 2 Trial proofs. The prints have been printed on handmade Papel Amate and Rives BFK papers. After printing the Amate sheet has been backed with Thai Mulberry paper and hand-cut by Roseanne Colachis to follow a printed lace pattern. The cut out Amate sheet has then been collaged to the Rives BFK lace sheet. The overall dimensions of the print are 51 1/4" x 33 3/4". / Each print has been hand colored, signed and numbered by the artist in pencil. All plates, mylars, Xeroxes and other impressions have been defaced or destroyed." Born in Bridgeport, Connecticut, Jane Hammond received her BA from Mount Holyoke College, an MFA from Arizona State University, and another MFA from University of Wisconsin-Madison. Her work has been collected by many museums including the Albertina in Vienna, Austria; the Addison Gallery of American Art in Andover, Massachusetts; Albright-Knox Art Gallery in Buffalo, New York; Amon Carter Museum of American Art in Fort Worth, Texas; Art Institue of Chicago; Brooklyn Museum of Art; Corcoran Gallery of Art, Washington D.C.; Cranbrook Art Museum, Bloomfield Hills, Michigan; the Detroit Institute of the Arts; the deYoung Museum in San Francisco, California; the Fogg Art Museum, Harvard University; J. Paul Getty Museum, Los Angeles, California; Metropolitan Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York City; National Gallery of Art, Washington, DC; National Museum of Women in the Arts, Washington, DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum, Washington, DC; The Whitney Museum of American Art and the list goes on! What's more Jane Hammond's "Love Laughs" was acquired by the Metropolitan Museum of Art in New York City (accession number 2006.51) and exhibited at "The Metropolitan Museum of Art. 'Drawings and Prints: Selections from the Permanent Collection,' April 13, 2009 - July 12, 2009.' Another was collected by the Art Institute of Chicago (2018.427). Provenance: private Mooresville, North Carolina, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169950
Jane Hammond (American, b. 1950). "Love Laughs" - color lithograph w/ hand coloring and collage, 2005. Signed, numbered 21/45, and dated in pencil by the artist on a petite hanging sign that is part of the artwork on the lower right. Published by Shark's Ink (Lyons, Colorado). A remarkable collage of color lithographs on bark paper with hand coloring in colored pencil and gouache on a 'lace' lithograph in gray on white wove paper, "Love Laughs" presents 18 distinct scenes - a surrealistic array of rooms with bizarre inclusions of figures and animals - within a dollhouse-like edifice. The arrangement is eclectic, with figures and objects unusually placed in Hammond's bizarrely delineated spaces. Realistic representation is clearly not Hammond's goal, as she playfully interprets scale and imagery to distort our comprehension of the space. In addition, Hammond employs vibrant colors to amplify the fantastical quality of her imagery. Clever statements accompany each scene and inject humor and layers of meaning. Contributing further to the exceptional quality of this piece is the workmanship as well as the framing. The ensemble of scenes was meticulously and skillfully hand-colored, hand-cut, and collaged over a printed "lace" background. The framing is remarkable in that there are no mitered corners; instead, the frame is one contiguous piece! Size: 51.25" L x 33.75" W (130.2 cm x 85.7 cm) Frame: 59.75" L x 42.625" W (151.8 cm x 108.3 cm) The spaces are framed by columns or pipes that appear to simultaneously separate yet bridge the scenes. Altogether, this maze-like construction forms a dollhouse-like edifice that allows the viewer to witness the various episodes. Some have interpreted these scenes as references to Hammond's interior world of self-discovery. Among the iconographical images, Hammond presents a pair of monkeys, one holding an apple behind its back, the pair perhaps embracing or wrestling beside a large rose in a Renaissance inspired colonnaded setting and accompanied by the statement, "He who wants fruit should not pick flowers"; a horned severed devil's head scooped up in a spoon that is held by an enormous hand accompanied by the text, "He who sups with the devil should have a long spoon"; a seated figure with a Kabuki actor tattooed on his back, sitting within a glass cube and surrounded by very large bees accompanied by the text, "He who wants to eat honey should endure the stings." Hammond's appetite for the strange is seemingly endless as various jesters and clowns, flora and fauna, pieces of food and unexpected objects, ethnographic artworks, and whimsical entities abound. Finally, the title of the piece is referenced on a heart-shaped pendant that reads "Love Laughs at locksmiths" and dangles from a lock attempting to be opened by a woman who is seemingly suspended in mid-air. This piece is accompanied by a signed statement from the renowned printer, Bud Shark (also known as Herman R. Shark or Herman Shark - American, b. 1946). The following is an excerpt from Shark's statement that delineates the printing technique employed to create this piece, "A nine color lithograph with hand-coloring on Papel Amate that has been collaged onto a one color lithograph on white Rives BFK. The "Love Laughs" edition has been printed from 9 aluminum plates made from mylars that were created by the artist drawing by hand with pencils, toner and ink washes; and Xerox transfers. The edition was proofed and printed by Master printer Bud Shark, assisted by Evan Colbert, between September 19th and November 30th, 2005. The edition consists of 45 numbered impressions, 7 Artist's proofs, 2 Printer's proofs, 3 Workshop proofs, 1 B.A.T., 4 Patron's impressions, 1 Archive impression and 2 Trial proofs. The prints have been printed on handmade Papel Amate and Rives BFK papers. After printing the Amate sheet has been backed with Thai Mulberry paper and hand-cut by Roseanne Colachis to follow a printed lace pattern. The cut out Amate sheet has then been collaged to the Rives BFK lace sheet. The overall dimensions of the print are 51 1/4" x 33 3/4". / Each print has been hand colored, signed and numbered by the artist in pencil. All plates, mylars, Xeroxes and other impressions have been defaced or destroyed." Born in Bridgeport, Connecticut, Jane Hammond received her BA from Mount Holyoke College, an MFA from Arizona State University, and another MFA from University of Wisconsin-Madison. Her work has been collected by many museums including the Albertina in Vienna, Austria; the Addison Gallery of American Art in Andover, Massachusetts; Albright-Knox Art Gallery in Buffalo, New York; Amon Carter Museum of American Art in Fort Worth, Texas; Art Institue of Chicago; Brooklyn Museum of Art; Corcoran Gallery of Art, Washington D.C.; Cranbrook Art Museum, Bloomfield Hills, Michigan; the Detroit Institute of the Arts; the deYoung Museum in San Francisco, California; the Fogg Art Museum, Harvard University; J. Paul Getty Museum, Los Angeles, California; Metropolitan Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York City; National Gallery of Art, Washington, DC; National Museum of Women in the Arts, Washington, DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum, Washington, DC; The Whitney Museum of American Art and the list goes on! What's more Jane Hammond's "Love Laughs" was acquired by the Metropolitan Museum of Art in New York City (accession number 2006.51) and exhibited at "The Metropolitan Museum of Art. 'Drawings and Prints: Selections from the Permanent Collection,' April 13, 2009 - July 12, 2009.' Another was collected by the Art Institute of Chicago (2018.427). Provenance: private Mooresville, North Carolina, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169950
Jane Hammond (American, b. 1950). "Love Laughs" - color lithograph w/ hand coloring and collage, 2005. Signed, numbered 21/45, and dated in pencil by the artist on a petite hanging sign that is part of the artwork on the lower right. Published by Shark's Ink (Lyons, Colorado). A remarkable collage of color lithographs on bark paper with hand coloring in colored pencil and gouache on a 'lace' lithograph in gray on white wove paper, "Love Laughs" presents 18 distinct scenes - a surrealistic array of rooms with bizarre inclusions of figures and animals - within a dollhouse-like edifice. The arrangement is eclectic, with figures and objects unusually placed in Hammond's bizarrely delineated spaces. Realistic representation is clearly not Hammond's goal, as she playfully interprets scale and imagery to distort our comprehension of the space. In addition, Hammond employs vibrant colors to amplify the fantastical quality of her imagery. Clever statements accompany each scene and inject humor and layers of meaning. Contributing further to the exceptional quality of this piece is the workmanship as well as the framing. The ensemble of scenes was meticulously and skillfully hand-colored, hand-cut, and collaged over a printed "lace" background. The framing is remarkable in that there are no mitered corners; instead, the frame is one contiguous piece! Size: 51.25" L x 33.75" W (130.2 cm x 85.7 cm) Frame: 59.75" L x 42.625" W (151.8 cm x 108.3 cm) The spaces are framed by columns or pipes that appear to simultaneously separate yet bridge the scenes. Altogether, this maze-like construction forms a dollhouse-like edifice that allows the viewer to witness the various episodes. Some have interpreted these scenes as references to Hammond's interior world of self-discovery. Among the iconographical images, Hammond presents a pair of monkeys, one holding an apple behind its back, the pair perhaps embracing or wrestling beside a large rose in a Renaissance inspired colonnaded setting and accompanied by the statement, "He who wants fruit should not pick flowers"; a horned severed devil's head scooped up in a spoon that is held by an enormous hand accompanied by the text, "He who sups with the devil should have a long spoon"; a seated figure with a Kabuki actor tattooed on his back, sitting within a glass cube and surrounded by very large bees accompanied by the text, "He who wants to eat honey should endure the stings." Hammond's appetite for the strange is seemingly endless as various jesters and clowns, flora and fauna, pieces of food and unexpected objects, ethnographic artworks, and whimsical entities abound. Finally, the title of the piece is referenced on a heart-shaped pendant that reads "Love Laughs at locksmiths" and dangles from a lock attempting to be opened by a woman who is seemingly suspended in mid-air. This piece is accompanied by a signed statement from the renowned printer, Bud Shark (also known as Herman R. Shark or Herman Shark - American, b. 1946). The following is an excerpt from Shark's statement that delineates the printing technique employed to create this piece, "A nine color lithograph with hand-coloring on Papel Amate that has been collaged onto a one color lithograph on white Rives BFK. The "Love Laughs" edition has been printed from 9 aluminum plates made from mylars that were created by the artist drawing by hand with pencils, toner and ink washes; and Xerox transfers. The edition was proofed and printed by Master printer Bud Shark, assisted by Evan Colbert, between September 19th and November 30th, 2005. The edition consists of 45 numbered impressions, 7 Artist's proofs, 2 Printer's proofs, 3 Workshop proofs, 1 B.A.T., 4 Patron's impressions, 1 Archive impression and 2 Trial proofs. The prints have been printed on handmade Papel Amate and Rives BFK papers. After printing the Amate sheet has been backed with Thai Mulberry paper and hand-cut by Roseanne Colachis to follow a printed lace pattern. The cut out Amate sheet has then been collaged to the Rives BFK lace sheet. The overall dimensions of the print are 51 1/4" x 33 3/4". / Each print has been hand colored, signed and numbered by the artist in pencil. All plates, mylars, Xeroxes and other impressions have been defaced or destroyed." Born in Bridgeport, Connecticut, Jane Hammond received her BA from Mount Holyoke College, an MFA from Arizona State University, and another MFA from University of Wisconsin-Madison. Her work has been collected by many museums including the Albertina in Vienna, Austria; the Addison Gallery of American Art in Andover, Massachusetts; Albright-Knox Art Gallery in Buffalo, New York; Amon Carter Museum of American Art in Fort Worth, Texas; Art Institue of Chicago; Brooklyn Museum of Art; Corcoran Gallery of Art, Washington D.C.; Cranbrook Art Museum, Bloomfield Hills, Michigan; the Detroit Institute of the Arts; the deYoung Museum in San Francisco, California; the Fogg Art Museum, Harvard University; J. Paul Getty Museum, Los Angeles, California; Metropolitan Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York City; National Gallery of Art, Washington, DC; National Museum of Women in the Arts, Washington, DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum, Washington, DC; The Whitney Museum of American Art and the list goes on! What's more Jane Hammond's "Love Laughs" was acquired by the Metropolitan Museum of Art in New York City (accession number 2006.51) and exhibited at "The Metropolitan Museum of Art. 'Drawings and Prints: Selections from the Permanent Collection,' April 13, 2009 - July 12, 2009.' Another was collected by the Art Institue of Chicago (2018.427). Provenance: private Mooresville, North Carolina, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169950
Untitled (Red), 1989. Monotype print with collage and handpainting on prepared paper. Pencil numbered 1/ 1, signed, and dated 1989 blow image. Greg Kucera Gallery, Seattle, label to the reverse. Custom maple frame by Gallery Frames, Seattle. Paper 28.25" x 32.25" approx. Frame 31.75" x 36.25". For freight or shipping quotes email: store4869@theupsstore.com or call. Number provided in auction description.
Mixed media on paper, 1993, presumably signed, titled and dated on the reverse, with label from Jose Freire Fine Art, NY. 36 x 3 1 1/2 in. (sheet), 41 x 36 1/2 in. (frame).
Jane Hammond Arrangement 1997 acrylic, ink and collage on Japanese paper 34.5 h × 28.75 w in (88 × 73 cm) Provenance: Greg Kucera Gallery, Seattle | Acquired from the previous in 2002, Private Collection, Chicago This work will ship from Wright in Chicago, Illinois. condition: Please note that full sheet is visible and has not been examined outside of frame. Work appears slightly wavy in frame likely as made. Overall free of any surface wear or discoloration. Framed behind glass measuring 38 x 32 x 2 inches.
Jane Hammond (American, b. 1950) Clown Suit, 1995 three-dimensional color lithograph with silkscreen collage signed and dated in pencil on collar 60 x 40 x 5 inches. Provenance: Lemberg Gallery, Ferndale, Michigan From the Collection of Jeffrey Antaya
JANE HAMMOND (Né en 1950) UOODOO, 1991 Lithographie en couleurs sur papier Signée, titrée, datée et annotée AP 3/25 Lithograph in colors on paper; signed, titled, dated and annotated AP 3/25 89,5 x 78,3 cm - 35 1/4 x 30 7/8 in.
Artist: Jane Hammond, American (1950 - ) Title: Body Language Year: 2001 Medium: Pigmented digital Print, signed, numbered, and dated in pencil Edition: 100 Image Size: 41 x 19 inches Size: 47.5 x 24.5 in. (120.65 x 62.23 cm)
JANE HAMMOND The Wonderfulness of Downtown. Color lithograph with screenprint and collage on Kasuiri, Nepalese, and Cortlea Text paper, 1997. 1511x1575 mm; 59 1/2x62 inches (sheet), full margins. Signed, dated, titled and numbered 7/50 in black ink, lower margin. Published by ULAE, West Islip, with the blind stamp lower left. A very good impression of this large lithograph.
Work was printed at ULAE (Universal Limited Art Editions), Bay Shore, New York. Can we help you sell a similar item from your collection? We make consigning easy and convenient: simply send photos and information about your items via email, our website, or snail mail, and we will get back to you with an estimate.
JANE HAMMOND (AMERICAN, B. 1950), MIXED MEDIA MONOTYPE, "ZUNI FLOWER, NO. 16" Mixed media including watercolor, collage, linoleum cut, hand-printed and computer generated images printed in color and hand colored on white paper floated on white paper board; sheet: 24 1/8" x 19 1/8"; overall, framed: 27 5/8" x 22 1/4" (gold metal sectional frame). Initialed in pencil, lower left and dated '05 lower right; commissioned by the Friends of Prints, Drawings, and Photographs, Detroit Institute of Arts.and published by the Graphics Arts Council.
Jane Hammond (American, b. 1950) The Wonderfulness of Downtown, 1996-1997 lithograph and silkscreen in 39 colors with collage signed and numbered 7/50 59 1/4 x 62 inches.
