(b Panama Canal Zone, 1949) Contemporary American Photographer and Painter. Moving to New York in the early 70s, Prince worked as a magazine clipper, were he was inspired to use the left over advertisements from the clippings in his artwork. Launching his career in the 1980s, Prince directly lifted found images and reproduced them in a Fine Art context, through photography. Prince’s use of the Marlboro man was his most popular work at this time. His subjects also include biker chicks and his series of joke paintings. In 2002, Prince’s nurse paintings were unveiled at the Barbara Gladstone Gallery, in New York. In this new series, Prince revisits with discernible maturity many of the themes that were present at the outset of his career - the manipulation of appropriated images, the seductiveness of mass culture and the death of the author - in an entirely new, painterly syntax. For the nurses, Prince's source material is culled from the artist's extensive collection of 1960s racy paperback nurse fantasies, a sub-genre of pulp fiction.* Prince currently lives and works in New York. (Credit: Sotheby’s London, Contemporary Art Evening Auction, July 1, 2008, Lot 22.)
Richard Prince (American, b. 1949), Super Group Record Cover Collage, Offset Lithograph in Colors, numbered edition "102/150" verso, white frame. Image: 12" H x 12" W; sheet: 12.25" H x 12.25" W; frame: 14.75" H x 14.75" W x 0.75" D. Provenance: From a Connecticut Collection. Keywords: Prints, Multiples, Weekend, Iron Butterfly, Merle Haggard, Bob Dylan, Tempest, Richard Pryor, The Doors, Figural, Pop Art, Contemporary Art
Richard Prince Untitled (The Girl Next Door) 1996-99 Ektacolor print image: 19.5 h x 13 w in (50 x 33 cm) sheet: 20 h x 16 w in (51 x 41 cm) mount: 25.75 h x 19.25 w in (65 x 49 cm) This work is number 1 from the edition of 5. Provenance: The Artist | Barbara Gladstone Gallery, New York | Acquired from the previous by the present owner Literature: Richard Prince: The Girl Next Door, Hatje Cantz and MAK Center for Art and Architecture, eds., cover This work will ship from Lambertville, New Jersey.
Richard Prince Untitled (Cowboys) 1980-84 chromogenic print 8 h x 10 w in (20 x 25 cm) This work is a working proof apart from the edition of 2 plus 1 artist's proof. This work has been verified by the Richard Prince Studio and is catalog number RPS8958. Provenance: Collection of Jack Sal | Acquired from the previous by the present owner This work will ship from Lambertville, New Jersey.
Richard Prince Untitled (Check Painting) 2013 checks, collage, acrylic, and duct tape on canvas 24 h x 20 w in (61 x 51 cm) Provenance: Acquired directly from the artist by the present owner This work will ship from Lambertville, New Jersey.
Richard Prince Naked Nurses 2006 photograph, book and linen-bound case photograph: 8 h x 8 w in (20 x 20 cm) book: 6.25 h x 4.25 w x 0.25 d in (16 x 11 x 1 cm) case: 10.75 h x 8.625 w x 1 d in (27 x 22 x 3 cm) Signed, numbered, and inscribed to book title page '8/10 To Ed with appreciation'. Inscribed to upper left corner of photograph 'To Richard From Nurse Shelby'. Signed, titled and numbered to verso '8/10, Richard Prince, Naked Nurses'. This work is number 8 from the signed edition of 10 apart from the edition of 1000 published by JMc & GHB Editions, New York. Sold with original case. This work will ship from Lambertville, New Jersey.
Richard Prince American, b. 1949 Weekend 2014 offset lithograph in colors on cardstock numbered 144/150 in pencil verso 12 x 12 inches Here, Prince reworked the album art from Brian Eno's "Tiger Mountain". The 1974 original album artwork was by Peter Schmidt. Prince appropriated Schmidt's work for this piece in 2014.
Richard Prince (American, b. 1949), Untitled (Hippie Drawing), Offset Lithograph in Colors, 2006, signed in pencil, dated, and numbered edition "2/50" lower right, white frame. Image: 10.75" H x 8.25" W; frame: 18.5" H x 13.5" W x 1.5" D. Provenance: From a Connecticut Collection. Keywords: Prints, Multiples, Works on Paper, Figural, Figurative, Grotesque, Polychrome, Contemporary Art
RICHARD PRINCE (Panamakanalzone 1949–lives and works in Upstate New York) Untitled (The Band 2). 2007. Acrylic and collage with paper on canvas. 2 parts. Verso signed and dated: R Prince 2007. 221 × 275 cm. Provenance: - Gagosian Gallery, New York City (verso with label). - Collection Belgium, acquired in the above gallery. Richard Prince’s ‘Untitled (The Band 2)’ belongs to the significant body of work known as the ‘Joke Paintings’, which have occupied a distinctive and provocative position within American conceptual art since the early 1980s. In a monumental format, Prince combines a centrally placed block of text with a collaged pictorial ground made up of photographs of the rock group The Band, who toured with Bob Dylan during the 1960s and 1970s. The photographic elements are reworked with chalky white paint, so that the faces of the band members appear only in fragments. The white contours of the lettering interweave with gestural brushstrokes and in places recede into the background, tightly binding text, image and painterly gesture together. Prince draws on elements of Pop Art, Abstract Expressionism and Dadaism in order to negotiate fundamental questions of authorship, image-worthiness and cultural structures. The use of pre-existing visual material and everyday language challenges established conceptions of painting. The text is based on a banal, suggestive male joke: ‘My wife cut down our sex life to once a month, but hey, two guys I know she cut out altogether.’ Such jokes typically circulate within male-coded communicative spaces and point to everyday linguistic practices in which implicit social and gendered power structures are manifested. By transferring this material into an artistic context, Prince draws attention to language as a carrier of cultural coding. The development of the ‘Joke Paintings’ can be traced back to 1984, when Prince began copying cartoons from magazines onto small sheets of paper. By the late 1980s, he radicalised this approach by eliminating the drawn elements entirely and focusing exclusively on text. The jokes were condensed, transferred onto canvas and presented in large format. In doing so, he transformed the originally intimate, often semi-private medium of the joke into a publicly exposed pictorial format, while simultaneously subjecting the aura of painterly gesture and the economics of the art market to critical scrutiny. In ‘Untitled (The Band 2)’, Prince further develops this strategy. The joke appears as a continuous block of text at the centre of the composition, formally recalling the number paintings of Jasper Johns. Unlike his monochrome ‘Joke Paintings’, however, the legibility of the text is deliberately disrupted by the restless painted ground. Text, image and painterly structure merge into a visual unity without the semantic content being lost. On the contrary, the effort required to decipher it directs the viewer’s attention more strongly towards the content itself. The fragmentarily visible bearded male faces reinforce the masculine coding of the joke. Through repetition in block form, the punchline increasingly loses its element of surprise. In its place emerges a critical reflection on gender relations, intimacy, power structures and the handling of shame within (American) society. The intelligent fusion of conceptual strategies with pop-cultural references, which drives Richard Prince’s influential practice, is compellingly articulated in ‘Untitled (The Band 2)’. ------------------------------------------------- RICHARD PRINCE (Panamakanalzone 1949–lebt und arbeitet in Upstate New York) Untitled (The Band 2). 2007. Acryl und Collage mit Papier auf Leinwand. 2-teilig. Verso signiert und datiert: R Prince 2007. 221 × 275 cm. Provenienz: - Gagosian Gallery, New York City (verso mit dem Etikett). - Sammlung Belgien, in obiger Galerie erworben. Richard Princes "Untitled (The Band 2)" gehört zu der bedeutenden Werkgruppe der "Joke Paintings", die seit den frühen 1980er-Jahren einen eigenständigen und zugleich provokanten Platz innerhalb der amerikanischen Konzeptkunst einnimmt. In monumentalem Format kombiniert Prince einen zentral gesetzten Textblock mit einem collagierten Bildgrund aus Fotografien der Rockgruppe The Band, die in den 1960er- und 1970er-Jahren mit Bob Dylan auf Tour ist. Die fotografischen Elemente sind mit kalkhaltiger, weisser Farbe überarbeitet, sodass die Gesichter der Bandmitglieder nur fragmentarisch aufscheinen. Die weissen Konturen der Schrift verschränken sich mit gestischen Pinselspuren und treten stellenweise in den Hintergrund, wodurch Text, Bild und malerischer Gestus eng miteinander verwoben werden. Prince greift dabei Elemente der Pop Art, des Abstrakten Expressionismus und des Dadaismus auf, um grundlegende Fragen nach Autorschaft, Bildwürdigkeit und kulturelle Strukturen zu verhandeln. Der Einsatz von existierendem Bildmaterial und Alltagssprache stellt das etablierte Verständnis von Malerei infrage. Der verwendete Text basiert auf dem banalen, anzüglichen Männerwitz: "My wife cut down our sex life to once a month, but hey, two guys I know she cut out altogether." Solche Witze zirkulieren typischerweise in männlich konnotierten Kommunikationsräumen und verweisen auf eine sprachliche Alltagspraxis, in der sich unbewusste gesellschaftliche und geschlechtsspezifische Machtstrukturen manifestieren. Durch die Überführung dieses Materials in den Kontext der Kunst lenkt Prince die Aufmerksamkeit auf Sprache als Träger kultureller Codierungen. Die Entwicklung der "Joke Paintings" lässt sich bis ins Jahr 1984 zurückverfolgen, als Prince beginnt, Cartoons aus Zeitschriften auf kleine Zettel zu kopieren. Gegen Ende der 1980er-Jahre radikalisiert Prince diesen Ansatz, indem er die zeichnerischen Elemente vollständig eliminiert und sich ausschliesslich auf den Text konzentriert. Die Witze werden verdichtet, auf Leinwand übertragen und in grossem Format präsentiert. Damit transformiert er das ursprünglich intime, oft halb privat erzählte Medium des Witzes in ein öffentlich exponiertes Bildformat und stellt zugleich die Aura der malerischen Geste sowie die Ökonomie des Kunstmarkts kritisch zur Disposition. In "Untitled (The Band 2)" entwickelt Prince diese Strategie weiter. Der Witz erscheint als fortlaufender Blocktext im Zentrum der Komposition und erinnert formal an die Zahlenbilder von Jasper Johns. Anders als in seinen monochromen "Joke Paintings" wird die Lesbarkeit des Textes durch den unruhigen Malgrund bewusst erschwert. Text, Bild und malerische Struktur verschmelzen zu einer visuellen Einheit, ohne dass der semantische Gehalt verloren geht. Im Gegenteil: Die notwendige Anstrengung des Entzifferns lenkt die Aufmerksamkeit der Betrachtenden verstärkt auf den Inhalt. Die fragmentarisch sichtbaren, bärtigen Männergesichter verstärken die männliche Codierung des Witzes. Durch die Wiederholung des Witzes im Blockformat verliert die Pointe zunehmend ihren überraschenden Charakter. An ihre Stelle tritt eine kritische Reflexion über Geschlechterverhältnisse, Intimität, Machtstrukturen und den Umgang mit Scham innerhalb der (amerikanischen) Gesellschaft. Die intelligente Verschmelzung konzeptioneller Strategien mit popkulturellen Bezügen, die im einflussreichen Werk von Richard Prince die treibende Kraft ist, wird in "Untitled (The Band 2)" überzeugend ausformuliert.
Richard Prince (b.1949) Untitled (Black Bra) Ditone print, 2024, signed in pencil, numbered from the edition of 100, on Hahnemühle Photo Rag paper, with full margins, sheet 380 x 382mm (15 x 15in) (unframed)
Richard Prince (b. 1949) Illustrated Manuscript on Legal Pad. Set of 9 pen and ink drawings on legal pad paper with cover sheet, circa 1976-80. One drawing signed and dated "'76", lower right.
Ten framed c-prints, each measuring 25 x 20cm (or the reverse), each featuring a printed signature of the subject, together with accompanying colophon, signed and annotated by the artist in ink, ‘Edition W from an A-Z edition of 26 with four artist's proofs’, and original red cloth portfolio as issued. Published by Sadie Coles HQ, London, 1999. Qty: (10)
Madame Butterfly C-Print. 2006. 50 x 40 cm. Rückseitig signiert und nummeriert (28) Eines von 60 Exemplaren. - Erschienen im Verlag der Texte zur Kunst, Berlin. - Auf Photopapier. - Sehr schön gerahmt und vorzüglich erhalten.
Woman C-Print. 2004. 50 x 34 cm. Auf dem rückseitigen Etikett signiert und nummeriert. (28) Exemplar G(/Z). - Erschienen im Verlag der Hatje-Cantz Edition, Ostfildern. - Auf Photopapier. - Sehr gut erhalten.
Richard Prince Untitled (Oh) 2010 inkjet and acrylic on canvas 76 h x 58 w in (193 x 147 cm) Singed, titled, and dated to verso 'Richard Prince 2010 Untitled Oh Painting' with artist's stamp. Provenance: Acquired directly form the artist, Private Collection, Los Angeles This work will ship from Los Angeles, California.
x Richard Prince (born 1949) Untitled (Canal Zone), 2008 Collage, tape, graphite and charcoal on paper Signed and dated on the bottom right 61 × 46 cm Provenance: - Purchased from the artist by the current owner x Richard Prince (né en 1949) Untitled (Canal Zone), 2008 Collage, ruban adhésif, graphite et charbon sur papier Signé et daté en bas à droite 61 × 46 cm Provenance : - Acquis directement auprès de l'artiste par l'actuel propriétaire
RICHARD PRINCE (B. 1949). Untitled (with de Kooning). oil crayon, charcoal, graphite, tape, printed paper collage and photo collage on paper22 ½ x 30 1/8 in. (57.2 x 76.5 cm.).
This unique copy is the publication Women by the American artist Richard Prince, published by Hatje Cantz Verlag / Regen Projects (Ostfildern-Ruit / Los Angeles, 2004). Hardcover version (laminate pictorial boards, without dust jacket) 176 pages, with about 196 color illustrations. English edition. This publication was published on the occasion of the exhibition Women at Regen Projects in Los Angeles (19 February – 20 March 2004).
Richard E. Aaron A/P Digital Print of Prince. Circa 1984. Original black/white artist proof digital print of Prince by Richard E. Aaron. Pencil signed by Aaron at the lower right, and penciled lower left "A/P Prince". Sticker on verso reads "The Gallery of Richard E. Aaron". Alan Kessler, the original owner of these photos personally knew and immediately connected with Richard Aaron over their mutual love of photography creating a deep friendship. Alan gave Richard the museum quality paper for these photos and in return Richard gave Alan the AP (Artist Proof) photos. These original photographs are printed on museum quality paper and is signed by Aaron and has the artist written in the margin in pencil. This is preferred because it is not easily forged. Pencil is fade proof and archival. AP (Artist Proof) which is outside the numbered editions. AP Photos are the first ones printed deemed good enough by the artist. Usually the artist or photographer keep the AP copy but because of their friendship Richard gave him these photographs. From Richard Aaron: "Prince opened his Purple Rain tour in the Motor City for a five day booking. At that time I was photo editor of a national Rock'n Roll magazine, and we were doing a cover story on Prince. His management gave me permission to shoot the opening of the tour in Detroit. The first night before the first show, all the photographers were asked to come early to the venue to receive the do's and don'ts and their assigned positions for the show. Prince was the hottest act in the country at the time, there were photographers from all over the world covering this event. We were placed on a box half way between the stage and the back of the coliseum, which was about 300 or more feet. We all had long lenses on tripods, but I was still too far from the stage to get a decent shot. Prince handlers said that if we were caught leaving the photo box, we would be ejected from the show. The longest lens I had was 600mm. By the second night I was getting nothing and getting very edgy that I was not getting the cover shot I needed. I had to do something. I knew that after the third song, the audience would get up and stand on their seats. This would be the perfect time to make my move. I grabbed a pocket full of film, took the cameras off the tripod, and slung a camera with a 180mm lens on one shoulder and another camera with an 85mm lens on the other, and stuffed a 50mm in my pocket. A spot meter hung around my neck. In other words, I was pretty conspicuous. When the fourth song hit, right on cue the audience went wild and stood on their chairs. At that moment, all the security detail turned around to look at the stage and I jumped over the barrier and took off in to the center of the hall. I bumped into a security guard and told him I was on my way back from the rest room. I got to the third row and noticed that there was an empty seat in the middle. I couldn’t believe it -- the perfect position! I looked through my camera and smiled." In a career that spanned over four decades, Richard E. Aaron captured still images for a wide variety of media ranging from feature films and television to corporate public relations. He was best known for his extensive work in music photography, however, and was honored by Modern Photography magazine as one of the “10 Best Rock Photographers” in the world. Richard had hundreds of album covers to his credit, including Frampton Comes Alive—one of the top-selling live rock albums of all time. His shots of Paul McCartney’s “Wings Over America” tour graced the first rock’n’roll cover of Time magazine. He was on-stage and backstage documenting some of the most important events in music history. Richard’s extensive archive includes images of over 4,000 artists, and his work appeared in more than 55,000 magazines, newspapers, and books worldwide. He was a graduate of New York’s School of Visual Arts and had a Bachelor’s in Fine Arts from Brooks Institute of Photography in Santa Barbara, California. Richard passed away in December 2016. Overall Size: 22 x 17 in. Sight Size: 18 x 14 in.
Richard Prince Untitled 2014 archival pigment print image: 10 h x 8 w in (25 x 20 cm) sheet: 11 h x 8.5 w in (28 x 22 cm) Numbered to verso '27/100'. This work is number 27 from the edition of 100 published by The Song Cave, Brooklyn. Provenance: Andrew Rafacz, Chicago | Private Collection This work will ship from Chicago, Illinois.
Richard Prince (American 1949-), 'Untitled (Black Bra)', 2024, Ditone print in colours on Hahnemühle Photo Rag paper, signed and numbered from an edition of 100 in pencil, published by Texte zur Kunst, Berlin; sheet: 31.2 x 31.3cm
Richard Prince The Catcher in the Rye 2011 bound artist's book 8.125 h x 5.625 w x 1.125 d in (21 x 14 x 3 cm) This work is from the edition of 500. This work will ship from Los Angeles, California.
Offset-printed brown paper shopping bag, 43 x 27.9 cm, published by Art Metropole (Toronto) and Printed Matter (New York) at Art Basel, June 12-17, 1991. Graphic design by Richard Prince, text by Lawrence Weiner. Bag printed by Imschoot Uitgevers (Ghent). Highly collectable item, in good condition.
Rotterdam, Museum Boijmans-Van Beuningen, 1993. Softcover, with glossy photographic wrappers, 26 x 18 cm, 56 pp. First edition of 1500 copies. Exquisite artists' book published to accompany Prince's exhibition at the Museum Boijmans-van Beuningen. Contains 54 colour plates printed (mostly full-bleed) on coated paper, showing images of women appropriated from American biker magazines. Mint copy.
Richard Prince. Richard Prince. New York, Harry Abrams 1992. Mit vielen fotografischen Abbildungen. Originalbroschur. Ausstellungskatalog des Whitney Museum of American Art. - Auf dem Titelblatt vom Fotografen signiert. - Das Cover ist mit dem weltberühmten Foto des reitenden Cowboys nach Malboro-Anzeigen aus der gleichnamigen Serie von Prince illustriert. - Dazu vier weitere Publikationen. 2000-2012. [Keywords: Artist’s book since 1960 ]
Richard Prince. Pamphlet. Lyon, Le Nouveau Musée 1983. Mit 15 fotografischen Abbildungen und Texten auf 29 losen Tafeln in Originalumschlagmappe. Eins von 50 Exemplaren der Luxusausgabe, vom Künstler signiert und nummeriert. - Der bedeutende Ausstellungskatalog enthält 15 Reproduktionen früher Fotos (1977-1982). Mit Texten des Künstlers in Englisch und Französisch und einem einleitenden Essay von Kate Linker. - Dazu fünf weitere Publikationen. 1985 - 2004. [Keywords: Artist’s book since 1960 ]
![Richard Prince (b.1949) 8 x 10 [Portfolio], 1999](https://image.invaluable.com/housePhotos/chiswick/42/812342/H3383-L436369082.jpg)
