Leroy Neiman Hand Pulled Serigraph on Paper "21 Club Facade"
Artist: Leroy Neiman
Title: The '21' Club Facade
About the Art: THE 21 CLUB FAÇADE 1990
Serigraph
Image size 26" x 36" (66.04 x 91.44 cm)
A limited edition of 500 numbered impressions; 80AP, 6PP, signed by the artist. Number Twenty-one, East Fifty-second Street, between Fifth and Sixth Avenues is a New York institution. John O'Hara, John Steinbeck, Ernest Hemminway, and Robert Benchley were all regulars as The "21" Club. Today, the stylish club continues to attract prominent members from New York's business, political and artistic elite- television and movie producers, advertising executives and titans of the record industry can all be found at "21." Since the days of Prohibition, "21" has been a New York tradition. It started life as a "speakeasy," but has become one of the city's most celebrated dining spots. In LeRoy Neiman's latest serigraph, one can feel not only the storied history of the landmark club, but also the artist's personal fondness for a favorite watering hole. Neiman often enjoys an elegant luncheon and a botle of champagne at "21," reling in the cheerful confines of the dining room. Like "21" itself, the serigraph is at once monumental and familiar, formal and somehow still friendly. the rigid, classically proportioned facade is decorated with an elaborate, wrought iron fence and the famous "21" Club gate, hauled over one extravagant New Year's Eve by loyal patrons as the former club closed down at Number Forty-Two. Neiman has also faithfully documented the colorful jockey statues, well know to anyone who has visited the club. The foreground is dominated by hulking, black limousines whose owners have yet to finish their power lunches. In contrast to the strength and cold of the iron and automobiles, Neiman has chosen a warm, rich, red-brown for the building's walls. He has peopled his serigraph with small, distinctive human touches which recall the special, club-like atmosphere at "21." Near the lower right corner, a bicycle messenger pedals by. Just above him, one of the chefs can be seen at the side entrance, enjoying a respite from the kitchen. In front of the center gate is an informal group of chauffeurs, swapping stories, as they, too, relax for a moment.
Title: The '21' Club Facade
About the Art: THE 21 CLUB FAÇADE 1990
Serigraph
Image size 26" x 36" (66.04 x 91.44 cm)
A limited edition of 500 numbered impressions; 80AP, 6PP, signed by the artist. Number Twenty-one, East Fifty-second Street, between Fifth and Sixth Avenues is a New York institution. John O'Hara, John Steinbeck, Ernest Hemminway, and Robert Benchley were all regulars as The "21" Club. Today, the stylish club continues to attract prominent members from New York's business, political and artistic elite- television and movie producers, advertising executives and titans of the record industry can all be found at "21." Since the days of Prohibition, "21" has been a New York tradition. It started life as a "speakeasy," but has become one of the city's most celebrated dining spots. In LeRoy Neiman's latest serigraph, one can feel not only the storied history of the landmark club, but also the artist's personal fondness for a favorite watering hole. Neiman often enjoys an elegant luncheon and a botle of champagne at "21," reling in the cheerful confines of the dining room. Like "21" itself, the serigraph is at once monumental and familiar, formal and somehow still friendly. the rigid, classically proportioned facade is decorated with an elaborate, wrought iron fence and the famous "21" Club gate, hauled over one extravagant New Year's Eve by loyal patrons as the former club closed down at Number Forty-Two. Neiman has also faithfully documented the colorful jockey statues, well know to anyone who has visited the club. The foreground is dominated by hulking, black limousines whose owners have yet to finish their power lunches. In contrast to the strength and cold of the iron and automobiles, Neiman has chosen a warm, rich, red-brown for the building's walls. He has peopled his serigraph with small, distinctive human touches which recall the special, club-like atmosphere at "21." Near the lower right corner, a bicycle messenger pedals by. Just above him, one of the chefs can be seen at the side entrance, enjoying a respite from the kitchen. In front of the center gate is an informal group of chauffeurs, swapping stories, as they, too, relax for a moment.
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