American, 1923-2015 Blue Angel, 1987 Signed and dated M. Schapiro '87 (lr), signed and dated Miriam Schapiro 1987 and inscribed as titled on the reverse Acrylic on canvas 72 x 80 inches (183 x 203 cm) Unframed Provenance: Elinor Herschaft, New York Private collection, New York Literature: Shaping the Fragments of Art and Life, Thalia Gouma-Peterson/essay by Linda Nochlin, Harry N. Abrams, 1999, pp. 111-112
American, 1923-2015 Another Red Room, 1967 Paper collage on paper 19 x 14 1/2 inches (48 x 37 cm) Provenance: Andre Emmerich Gallery, New York (Framed: 19 1/4 x 14 3/4 x 1 1/4 inches) Sheet is free in a Kulicke frame; not hinged nor adhered to a support but secure within frame. No signs of lifting or loss to collaged elements. Collaged elements are intact and without any notable issues. No notable issues found during inspection. Overall good condition.
Miriam Schapiro In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams 1993 lithograph in colors laid to paper image: 13.5 h x 27 w in (34 x 69 cm) sheet: 22.625 h x 30 w in (57 x 76 cm) Signed, titled, dated and numbered to lower edge '99/100 In the Land of Oo-Bla-Dee Miriam Shapiro 1993'. This work is number 99 from the edition of 100 printed and published by the Rutgers Center for Innovative Print and Paper, New Brunswick, NJ. This work will ship from Lambertville, New Jersey.
Miriam Schapiro 1923 - 2015 The Exotic Heart signed and dated ‘82 (lower center) acrylic and fabric on paper mounted on board 32 by 32 ½ in. 81.3 by 82.6 cm. Executed in 1982.
Miriam SCHAPIRO (American, 1923-2015): "The Twinning of Adam and Eve". Carborundum collagraph with pochoir and fabric collage, printed to the sheet's edges (as issued) on Somerset wove paper, 1990. The "bon a tirer" impression, before the edition of 20. Printed by Betty Winkler at Yama Prints, NY, with their logo drystamp, lower right sheet corner. Published by "Smith Andersen Editions", Palo Alto, CA. Signed, titled, dated, and annotated in pencil. Sheet size: 30 1/4 x 43 3/4 inches.
Miriam SCHAPIRO (American, 1923-2015): "Untitled (Frida Khalo and Diego Rivera)". Etching with photo collage on tan wove paper, 1991. Edition of 20. Printed by Betty Winkler at Yama Prints, NY, with their logo drystamp, lower left sheet corner. Published by the artist. Signed, dated, and numbered in pencil. Plate size: 20 1/4 x 16 1/8 inches. Sheet size: 31 x 21 inches.
Miriam Schapiro A Mandarin Heart 1982 acrylic and fabric collage 31.5 h x 32 w in (80 x 81 cm) Signed and dated to lower edge 'M. Shapiro '82'. Provenance: Marian Locks Gallery, Philadelphia | Private Collection | Wright, 20|21 Art: The Chicago Edition, 13 October 2022, Lot 195 | Private Collection This work will ship from Los Angeles, California.
Miriam Schapiro (1923-2015) "A Person for Paula," 1993 Monotype on Arches paper and the silhouetted form cutout from its center Signed and titled in pencil on the lower edge of the full monotyped sheet, verso; inscribed in pencil on the verso of the cutout form: To Paula with love, Miriam, Jan. 13, 1993
Miriam Schapiro (1923-2015) "Mimi in the Orient," 1993 Monotype, watercolor, and collage on paper Signed, titled, and dated in pencil along the lower edge, verso: Miriam Schapiro
MIRIAM SCHAPIRO Children of Paradise. Color lithograph and collage on cream wove paper, 1984. 805x1220 mm; 31¾x48 inches (sheet), full margins. Signed, titled, dated and numbered 60/60, from the edition variée, in pencil, lower margin. Printed and published by Graphicstudio, Tampa, with the blind stamps lower right. A very good impression of this large scarce work. Children of Paradise was produced as an edition variée, an edition where each print contains more differences from each other than in a standard edition. In this case lithographic elements were used in the background and the collaged fabrics were different in each print. According to Graphicstudio, who published this work, "In Children of Paradise, Miriam Schapiro [1923-2015] applied the collage principles she has called 'femmage.' Schapiro has been creating femmages since the early 1970s, initially inspired by her use of found materials in her exploration of autobiographical and woman-centered themes for her contribution to Womanhouse, a feminist installation project at the California Institute of Arts. Combining scraps of fabric, lace, quilting, and other handwork with paint and printer's ink, Schapiro's femmages intentionally recall traditional handwork techniques such as appliqué and quilting. Schapiro's strength as a colorist is clearly revealed in her bold use of vibrant and competing hues in Children of Paradise. Two articles of children's clothing, a girl's dress and a boy's suit, serve as the core elements around which Schapiro has built the composition. Layering color and texture in the form of hearts and teacups cut from fabrics and houses cut from patterned paper-all familiar in Schapiro's repertoire of images-she creates a highly structured composition that nevertheless appears unstructured, reminiscent of the haphazard arrangements of some quilts. Schapiro worked from fabrics she brought with her to the Graphicstudio workshop--'pieces from woman's culture'--as well as material she collected in Tampa, to create about a dozen preliminary femmages before executing the edition print. In the print Schapiro's layering of transparent inks with fabrics, possibly suggesting 'levels of the past,' locks the cutout shapes into a compositional whole. The fabric heart in the bottom left corner, for example, is echoed in the background lithography, connecting the layers of the image." Regarding her collage work, Schapiro noted, "The collagists who came before me were men, who lived in cities, and often roamed the streets at night scavenging, collecting material, their junk, from urban spaces. My world, my mother's and grandmother's world, was a different one. The fabrics I used would be beautiful if sewed into clothes or draped against windows, made into pillows, or slipped over chairs. My ‘junk,' my fabrics, allude to a particular universe, which I wish to make real, to represent."
MIRIAM SCHAPIRO Fragments of History. Femmage with fabric and watercolor on paper, 1973. 765x559 mm; 30⅛x22 inches. With the artist's ink stamp on the frame back. Exhibited: "Miriam Schapiro New Work," André Emmerich Gallery, Inc., New York, April 28- May 16, 1973. Provenance: Acquired at André Emmerich Gallery, Inc., New York, by private collection, New York, with a partial label and a facsimile of the invoice dated June 1, 1973; thence by descent to current owner, private collection, New York.
Miriam Schapiro 1923 Toronto - 2015 Hampton Bays, New York The upholstered Fan. 1978 Signed, dated and titled verso. Acrylic and fabric collage auf canvas. 242 x 117 x 8 cm. Acrylic box (252.5 x 133.5 x 11.5 cm). The US-American of Canadian origin questions rigid role models and the associated marginalisation of female manual labour. In the form of oversized fans, which she adorned with a stylistically pluralistic patchwork design in bold, contrasting colours, Schapiro created compositions that transcend temporal and cultural boundaries. provenance: private collection, South Germany Ausstellung: Galerie Bischofberger, Zurich - Lerner-Heller Gallery, New York (exhibition labels verso)
"Silver Windows" by Miriam Schapiro, 1967 Unsigned Offset Lithograph. Paper size is 28.5 x 20.5 inches, with an image size of 24 x 19 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B-: Good Condition, Signs of Handling and Age. Additional details: Poster created for an exhibit at Andre Emmerich Gallery in 1967
Miriam Schapiro (1923-2015) "Mimi in the Orient," 1993 Monotype, watercolor, and collage on paper Signed, titled, and dated in pencil along the lower edge, verso: Miriam Schapiro
Miriam Schapiro (1923 - 2015) "A Person for Paula," 1993 Monotype on paper, watermark Arches and a paper cutout on wove paper Signed and titled in pencil on the lower edge of the monotype, verso; inscribed in pencil on the paper cutout: To Paula with love, Miriam, Jan. 13, 1993
Miriam ("Mimi") Schapiro (Canadian, 1923-2015). An original oil painting on canvas. A still life work produced in a modern Post Impressionist style, depicting a profusion of colorful abstract flora. No apparent signature. Hand inscribed artist name to wood stretcher verso, with original printed gallery label dated APRIL 5 1999, having artist last name. Presented in a gilt decorative wood frame. Work Size: 20 x 24 in. Dimensions: 22 X 25.75 X 1.5 in. Condition: Good overall condition having mild surface wear. Frame with mild wear to edges and corners. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request.
"The Littlest Fan"; 1981; Mixed Media (Sequins, Fabric and Acrylic Paint) on Paper; 6.25" x 12.5"; Signed on Verso; Unframed; Note: inscribed on verso "To Frank D'Astolfo - Affectionately Mimi"
Miriam Schapiro 1923 Toronto - 2015 Hampton Bays, New York The First Fan. 1977 Titled, dated and signed verso. Acrylic and collage auf canvas. 185 x 365 cm. Bei "the First Fan" handelt es sich um eine Leinwand in Form eines überdimensionalen Fächers. Für das symmetrisch angelegte Bild des Fächers wählt die Künstlerin feine gemusterte Stoffe, die sich in 24 Segmenten abwechseln und auf die Leinwand appliziert werden. Gut erkennbar sind die Stoffe mit Segmentbögen à la Sonja Delaunay, antikisierende geometrische Muster u.a. An zentraler Stelle, mittig am Unterrand, befinden sich Stoffe mit linearen Gesteinsformationen, welche die Form eines Eies haben, das in vielen Ländern als Fruchtbarkeitssymbol gilt. Überwindung gestickter Vorurteile Dass sich textile Techniken besonders dazu eignen, starre Rollenbilder und die damit verbundene Marginalisierung weiblicher Handarbeit zu hinterfragen, nutzt Miriam Schapiro in ihren feministisch orientierten Collagen, den sogenannten "Femmages". Als Pionierin der Muster- und Dekorationsbewegung der 70er Jahre, setzte sich die US-amerikanische Künstlerin und Feministin mit einer Vielfalt an Techniken, Formen und Materialien auseinander. In der Darstellungsform überdimensionaler Fächer entdeckte Schapiro eine Komposition, die es vermag, zeitliche und kulturelle Grenzen zu überschreiten sowie die vorherrschende Hierarchie zwischen hoher und niedriger Kunst zu korrumpieren. Als Attribut weiblicher Schönheit und Passivität widerfährt der Fächer durch seine Monumentalisierung eine neue und gleichwertige Autorität. Die rhythmisch-symmetrische Form sowie die kräftigen, kontrastierenden Farben finden sich in einem stilpluralistischen Patchwork Design wieder, welches in seiner Ornamentik auf nichtwestliche Kunst- und Kulturformen Bezug nimmt. Miriam Schapiro gelingt es, starre Zuordnungen von weiblich/männlich und trivial/heroisch mit einer unvergleichbaren dekorativen Ästhetik zu überwinden und wird nicht zu Unrecht derzeit unter anderem im Metropolitan Museum of Art, New York ausgestellt. provenance: private collection, South Germany Ausstellung: exhibition label of the Lerner-Heller Gallery, Madison Avenue, New York verso Exhibition label of the Lerner-Heller Gallery, Madison Avenue, New York verso
Lot 89 Miriam Schapiro Canadian/American (1923-2015) Laberinto con Insectos / Projecto C (2 Works) (1998/2001) lithograph each signed lower right, P/A sheet (larger): 17 1/2 x 18 1/4 inches unframed Provenance: The Graciela Kartofel Collection
Miriam Schapiro (1923-2015) "December 1974," 1974 Screenprint in colors on paper Initialed and dated lower right: MS; titled on letter affixed to the frame's backing board
MIRIAM SCHAPIRO Frida and Me * In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams. Frida and Me. Color lithograph with Chine collé and collage on Mohawk Superfine paper, 1990. 1048x750 mm; 41 1/4x29 1/2 inches (sheet), full margins. Signed, titled, dated and numbered 81/81 in pencil, lower margin * In the Land of Oo-Bla-Dee: Homage to Mary Lou Williams. Color lithograph mounted on gray wove paper, 1993. 580x770 mm; 23x30 1/2 inches (sheet), full margins. Proof, aside from the edition of 100. Signed, dated, titled, inscribed "R.I." and numbered XV/XX in pencil, lower margin. Both printed and published by the Rutgers Center for Innovative Print and Paper, New Brunswick, New Jersey. Both very good impressions with strong colors.
Miriam Schapiro Canadian/American, 1923-2015 Untitled, circa 1982 Acrylic, fabric collage and mixed media on card Sheet 36 x 36 5/8 inches, overall 40 x 40 1/2 inches (101.6 x 102.87 cm) Provenance: Barbara Gladstone Gallery, New York Acquired from the above by the current owner C
Miriam Schapiro (Canadian, 1923-2015) A Garden In Paradise, 1982 acrylic and fabric on canvas signed Miriam Schapiro, titled and dated (verso) 64 x 69 inches. Property from a Private Art Collection
MIRIAM SCHAPIRO (Canadian-American, 1923-2015), ''Excitement'', 2004, mixed media ''femmage'' on paper, signed lower middle right, and on frame verso along with title and date. Image sight 13''h, 15''w.
MIRIAM SCHAPIRO Untitled. Femmage (acrylic, paper and fabric collage), 2003. 660x565 mm; 26x22 1/4 inches. Signed and dated in ink, lower right recto. Schapiro (also known as Mimi) (1923-2015) was a Canadian-born artist based in the United States. She was a painter, sculptor, printmaker, and a pioneer of feminist art. She is also considered a leader of the Pattern and Decoration art movement. Schapiro's artwork blurs the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity. Schapiro's work touches on the issue of feminism and art: especially in the aspect of feminism in relation to abstract art. Provenance: Private collection, Massachusetts.
Miriam Schapiro A Mandarin Heart 1982 acrylic and fabric collage 31.5 h × 32 w in (80 × 81 cm) Signed and dated to lower edge 'M. Shapiro '82'. Provenance: Marian Locks Gallery, Philadelphia | Private Collection This work will ship from Rago in Lambertville, New Jersey.
Lot 73 Miriam Schapiro Canadian/American (1923-2015) The Fair Season (1962) lithograph in colors signed in pencil lower right, artist's proof sight: 12 3/4 x 15 1/2 inches frame dimensions: 17 3/4 x 21 1/4 x 1 1/4 inches, aluminum frame with acrylic glazing Additional Information: inscribed to margin: 'For Ernie, with love on his birthday 12/2)' Provenance: From a Private Collection
MIRIAM "Mimi" SCHAPIRO (IA/NY/Canada 1923-2015). A cast metal (steel) sculptural work of 2 figures dancing in tandem, titled "Anna and David". The work is stamped/signed, verso, with the artist's name, title, and "Bernice Steinbaum Gallery", along with a corporate dedication/date (1987). Measures: H 3" x W 3" x D 1/4"
MIRIAM "Mimi" SCHAPIRO (IA/NY/Canada 1923-2015). A cast metal (steel) sculptural work of 2 figures dancing in tandem, titled "Anna and David". The work is stamped/signed, verso, with the artist's
(Canadian, 1923-2015) acrylic and fabric on paper, signed and dated 1982 Overall: 39"h x 42-1/2"w Sight: 35-1/2"h x 39"w Provenance: Property from a Private New York City Collection
"Silver Windows" by Miriam Schapiro, 1967 Unsigned Offset Lithograph. Paper size is 28.5 x 20.5 inches, with an image size of 24 x 19 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B-: Good Condition, Signs of Handling and Age. Additional details: Poster created for an exhibit at Andre Emmerich Gallery in 1967
"Silver Windows" by Miriam Schapiro, 1967 Unsigned Offset Lithograph. Paper size is 28.5 x 20.5 inches, with an image size of 24 x 19 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B-: Good Condition, Signs of Handling and Age. Additional details: Poster created for an exhibit at Andre Emmerich Gallery in 1967
Miriam Schapiro (Canadian, 1923-2015) In the Land of oo-bla-dee, 1993 lithograph in a fan shape mounted on grey paper signed, titled, dated and numbered 15/100 in pencil 27 x 13 1/2 inches. Property from the Estate of Mr. and Mrs. Dean Drahos, Northfield, Ohio
Fabric collage and acrylic. "1899". 1978. Gladstone/Villani, Inc. label affixed verso. Christie's labels affixed verso. From a Great Neck, NY collection.
Miriam Schapiro (Canadian,1923-2015) Lithograph titled Alexandra's Puppet ,1995. Eleven colored lithograph and woodblocks on white paper. Artwork depicting a colorful image of robot like figure with cubic sections & numbers. Published by Tandem Press. Signed & dated in pencil at bottom right by artist, titled in center, 30/30 at bottom left. Original Tandem Press label on verso. Frame measures 74 3/4 in. height x 37 in. length. Sight measures 38 in. height x 27 3/4 in length. Hill Auction Gallery will not ship. Gallery will refer local shipper for US Domestic & International buyers. Purchaser pick up available upon request.
MIRIAM SCHAPIRO SCREEN PRINT, COLLAGE HANDKERCHIEF: Miriam Schapiro (American, b. 1923 - d. 2015), title, "Una Furtivo Lacrima (A Stolen Tear)", screen-print in colors on rag paper. Each of the twelve handkerchiefs were from Schapiro's personal collection, they were photographed, reproduced as twelve individual silkscreens which were assembled via collage onto rag paper. Titled, signed and numbered 27 out of 40, by the artist in the margins, 43.25" x 33"w. ABOUT THE BERGHOFF-COWDEN EDITIONS COLLECTION: The Berghoff Art Gallery first opened in the 1980’s as Soho South Gallery in Safety Harbor, Florida. In 1988, Lois Berghoff and Dorothy Cowden evolved the Gallery into the Berghoff-Cowden Editions, a collaborative, screenprint workshop first located in a converted warehouse by the University of Tampa, Florida and ultimately settling in New Port Richey, Florida. The workshop specialized in publishing unique and small editions of hand-pulled screen-prints and monoprints. The environment created within this experimental workshop inspired artists to innovate conventional screen printing techniques in a creative manner never seen before or since. Their editions included hand-painting, collage, flocking, cutting and stitching, paper manipulation such as folding, layering and cutting as well as the incorporation of exotic fabrics and layered Japanese papers. The eclectic creative-processes of the workshop attracted a diverse, global group of renowned artists working in several movements including abstraction, expressionism, realism, sculpture and pattern and decoration.A partial roster of artists who create exceptional works in this space includes: Miriam “Mimi” Schapiro (Canadian, American, b. 1923 – d. 2015), Brad Davis (American, b. 1942), Frank Faulkner (American, 1946), Sam Gilliam (American, b. 1933), Roberto Juarez (American, b. 1952), George Sugarman (American, b. 1912 – d. 1999) and Robert Rahway Zakanitch (American, b. 1935). The workshop also invited Italian artists Marilu Eustachio (Italian, b. 1934), Oliviero Rainaldi (Italian, b. 1956) and Cloti Ricciardi (Italian, 20th / 21st centuries). Recognizing the importance of this collaboration, The Polk Museum of Art in Lakeland, Florida, curated and exhibited a collection of these works from the collection of Dorothy Mitchell entitled, “Expanding Expressions” this exhibit was supported by the Polk Museum of Art, Florida Division of Cultural Affairs and the Florida Arts Council and was exhibited throughout the United States at several prominent museums from 1997 until early 2000. Rare-Era is honored to offer hand-selected pieces from this magical time directly from the Berghoff Personal Collection, these choice examples of the editions have never been offered publicly!Refs. 1.) Lois & Linda Berghoff. 2.) Bennett, Lennie. “Paper as a Malleable Medium,” St. Petersburg Times. Published July 13, 2003, http://www.sptimes.com/2003/07/13/news_pf/Floridian/Paper_as_a_malleable_.shtml, accessed: October 28, 2017. 3.) Bennett, Lennie. “The Leepa-Rattner Msueum of Art Reinvents its Space and its Collection,” Tampa Bay Times. Published November 12, 2011. http://www.tampabay.com/features/visualarts/the-leepa-rattner-museum-of-art-reinvents-its-spaceand-its-collection/1200603 , accessed: October 28, 2017. 4.) Schroeder, Ivy. “Expanding Expressions: Contemporary Master Prints, UM St. Louis’ Gallery 210,” Riverfront Times. Published December 15, 1999, https://www.riverfronttimes.com/stlouis/expanding-expressions-contemporary-masterprints/Content?oid=2475571, Accessed: October 28, 2017.BIOGRAPHY: MIRIAM “MIMI” SCHAPIRO (Canadian, American, b. 1923 – d. 2015) Miriam Schapiro is known as one of the leaders of the pattern and decoration and the feminist art movement. She was born in Canada and raised in Brooklyn; while in High School, Schapiro studied at the Museum of Modern Art and the Federal Art Project the visual arts extension of the Great Depression-era Works Progress Administration. She attended college at the State University of Iowa, where she received three degrees between 1945 and 1949, a B.A., M.A. and M.F.A. She went on to teach in several locations including: State University of Iowa; Parsons School of Design, New York City; University of California, Berkeley; University of San Diego; California Institute of the Arts, Valencia; and the Tyler School of Art, Philadelphia.It was while teaching at CalArts in 1970 that Schapiro and Judy Chicago taught a co-directed a course on feminism that led to the creation of the Feminist Art Program. Part of this program involved a collaborative project called “Womanhouse” which involved several female artists who exhibited in an old house and presented works dealing with feminist issues. Schapiro exhibited a doll house, each room symbolically built to represent her own female world. This piece is now held in the Smithsonian Museum of American Art, 1997.112A-B. Author Elise LaRose comments about "Womanhouse:" "A decade of personal and political struggle with feminist issues crystallized in (Schapiro's) pioneering and collaborative involvement. Co-directing, with Judy Chicago, the Feminist Art Program at the California Institute of the Arts in Valencia, California, they started off the school year by involving their students in a project which would allow them to project all their dreams and fantasies by creating an exclusively female environment in an old house. After renovating the house, they transformed it with performance and art works that dealt with specifically feminist issues. They used this explorative process as a means of restructuring their identities as women artists in a patriarchal (art) world...""Since then, Miriam Schapiro has been giving the history of women's 'covert' art a brightly lit showcase. The once-tabooed scraps; sequins, buttons, threads, rick rack, spangles, yarn; silk, taffeta, cotton, burlap, and wool, were excavated from the musty attics and dredged from the dark closets of art history. Now, they are assembled and coordinated with emotional and creative thought into 'femmages.' Having taken embroidered upholstery out of the parlor, quilts off beds, clothing off hangers, scrapbooks out of trunks, and tapestries from beneath our feet, Schapiro re-educates us about a history of buried art, women's art." After this project, she created paintings incorporating handkerchiefs, lace and other fabrics in metaphorical statements of liberation. As the leading member of the Pattern and Decoration Movement (or P & D) of the mid '70s, Schapiro incorporated dress, costume, and decorative patterns into her art. This art movement challenged traditional Western European art by featuring decorative patterns and textiles from other cultures such as Chinese, Indian, Islamic, and Mexican. The use of textiles also served symbolically of feminine labor. Schapiro's collages, or "femmages," as she sometimes calls them, included the needlework of other, perhaps long forgotten women. Schapiro has attempted to break the barrier between art and craft by reintroducing pattern and decoration into the modernist art world."Femmage," stands for the female laborer's hand-sewn work (such as embroidery, quilting, cross-stitching, etc.) that rivals and precedes the "high-art" collage. Her work, The Poet #2, combines pattern with painting. Schapiro comments, "I felt that by making a large canvas magnificent in color, design, and proportion, filling it with fabrics and quilt blocks, I could raise a housewife's lowered consciousness." Her involvement with consciousness-raising efforts, for which she traveled nationwide encouraging women to form support groups and emerge from isolation, earned her the nickname "Mimi Appleseed." Schapiro received six honorary Doctorate degrees, Grants from the Rockefeller Foundation, a grant for artists in residency at Bellagio Study Center in Bellagio, Italy; the John Simon Guggenheim Memorial Foundation Fellowship; the Djerassi Foundation Residency in Woodside, CA; Atlantic Center for the Arts Residency - Master Class; a National Endowment for the Arts Fellowship; Ford Foundation Grant at Tamarind; the Honors Award, The Woman's Caucus for Art; N.Y. State Teacher's Assn. Certificate of Recognition; N.Y. State NARAL, 25th Anniversary; a Yaddo Fellowship.Schapiro’s work is held in numerous museums which include: In New York - Brooklyn Museum of Art, Museum of Modern Art, Jewish Museum, Guild Hall Museum, Metropolitan Museum of Art; National Gallery of Art, Whitney Museum of Art; In Washington D.C. - Hirshhorn & Sculpture Garden, Smithsonian Museum of American Art, D.C.; In Florida - Orlando Museum of Art, Polk Museum of Art, Leepa-Rattner Museum of Art; Allen Memorial Art Museum on Oberlin, Ohio; Missoula Museum of Arts, Montana; Harvard University’s Fogg Museum; Museum of Fine Arts, Boston, New York; Peter Ludwig Collection, Aachen, Germany; Art Gallery of New South Wales, Sidney, AustraliaRef: Biography courtesy of: http://www.askart.com/auction_records/Miriam_Mimi_Schapiro/100044/Miriam_Mimi_Schapiro.aspx, https://www.goshen.edu/news/2001/11/12/miriam-schapiro/, http://www.matrixpress.org/miriam-schapiro.html.
(Canadian, 1923-2015). 1962, color lithograph, artist proof, pencil signed, "Miriam Schapiro '62" lr, pencil inscribed, "For Ernie with love on his birthday 12/2," lc, sight size:12 3/4 x 15 in., framed
