Art Card: The Umbrellas Japan-USA (Hand Signed by Christo and Jeanne-Claude), from the estate of Jacob Bal Teshuva, 1997

Christo

Art Card: The Umbrellas Japan-USA (Hand Signed by Christo and Jeanne-Claude), from the estate of Jacob Bal Teshuva, 1997

Offset lithograph postcard (Hand Signed)

Hand signed in orange crayon by Christo and Jeanne-Claude
Provenance: The collection of Jacob and Aviva Bal Teshuva
Elegantly float framed in a museum quality wood frame under UV plexiglass
Measurements:
Framed
9 inches (vertical) by 11 inches (horizontal) by 1.5
Card:
4 inches (vertical) by 6 inches (horizontal)
Makes a wonderful gift!

More about the Umbrellas-Japan USA Project:
At sunrise, on October 9, 1991, Christo and Jeanne-Claude's 1,880 workers began to open the 3,100 umbrellas in Ibaraki and California, in the presence of the artists at both sites. This Japan—USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys, one 19 kilometers (12 miles) long in Japan, and the other 29 kilometers (18 miles) long in the USA.
In Japan, the valley is located north of Hitachiota and south of Satomi, 120 kilometers (75 miles) north of Tokyo, around Route 349 and the Sato River, in the Prefecture of Ibaraki, on the properties of 459 private landowners and governmental agencies. In the USA, the valley is located 96.5 kilometers (60 miles) north of Los Angeles, along Interstate 5 and the Tejon Pass, between south of Gorman and Grapevine, on the properties of Tejon Ranch, 25 private landowners as well as governmental agencies.
Eleven manufacturers in Japan, USA, Germany and Canada prepared the various elements of the umbrellas: fabric, aluminum super-structure, steel frame bases, anchors, wooden base supports, bags and molded base covers. All 3,100 umbrellas were assembled in Bakersfield, California, from where the 1,340 blue umbrellas were shipped to Japan.
Starting in December 1990, with a total work force of 500, Muto Construction Co. Ltd. in Ibaraki, and A. L. Huber & Son in California installed the earth anchors and steel bases under the supervision of Site Managers Akira Kato in Japan and Vince Davenport in the USA. The sitting platform-base covers were placed during August and September 1991. From September 19 to October 7, 1991, an additional construction work force began transporting the umbrellas to their assigned bases, bolted them to the receiving sleeves, and elevated the umbrellas to an upright closed position. On October 4, students, agricultural workers, and friends, 960 in USA and 920 in Japan, joined the work force to complete the installation of The Umbrellas. Each umbrella was 6 meters (19 feet 8 inch) high and 8.66 meters (28 feet 5 inch) in diameter.
Christo and Jeanne-Claude's 26 million dollar temporary work of art was entirely financed by the artists through their "The Umbrellas, Joint Project for Japan and U.S.A. Corporation" (Jeanne-Claude Christo-Javacheff, President). The artists did not accept sponsorship. All previous projects by Christo and Jeanne-Claude have been financed in a similar manner through the sale of the studies, preparatory drawings, collages, scale models, early works, and original lithographs.
The removal started on October 27 and the land was restored to its original condition. The umbrellas were taken apart and most of the elements were recycled.
The Umbrellas, free standing dynamic modules, reflected the availability of the land in each valley, creating an invitational inner space, as houses without walls, or temporary settlements and related to the ephemeral character of the work of art.
In the precious and limited space of Japan, the umbrellas were positioned intimately, close together and sometimes following the geometry of the rice fields. In the luxuriant vegetation enriched by water year round, the umbrellas were blue. In the California vastness of uncultivated grazing land, the configuration of the umbrellas was whimsical and spreading in every direction. The brown hills are covered by blond grass. In that dry landscape, the umbrellas were yellow.
From October 9, 1991 for a period of 18 days, The Umbrellas were seen, approached, and enjoyed by the public, either by car from a distance and closer as they bordered the roads, or by walking under The Umbrellas in their luminous shadows.

Christo Biography
Christo Javacheff and Jeanne-Claude de Guillebon were both born in 1935, he in Gabrova, Bulgaria, and she in Casablanca, Morocco. (They would drop their surnames early on.) Christo studied at the Fine Arts Academy in Sofia (1953–56) before defecting to the West, via Prague, in 1957. That year, he spent one semester at the Akademie der Bildenden Künste in Vienna. He moved to Paris in 1958 and met Jeanne-Claude, who had earned her baccalaureate in Latin and philosophy from the University of Tunis in 1952. They would later marry.
Indebted to Vladimir Tatlin's Constructivist edict "real materials in real space," Christo's first artworks, dating from 1958, consist of appropriated everyday objects such as bottles, cans, furniture, and oil drums wrapped in canvas, bundled in twine, and occasionally overlaid with automobile paint. His first solo exhibition, at Galerie Haro Lauhus in Cologne in June 1961, included his inaugural collaboration with Jeanne-Claude (though she would not publicly acknowledge her role in their creations until 1994), Dockside Packages, a collection of draped oil barrels and rolls of industrial paper arranged outside the gallery along a dock. That same year, the couple made their first attempt at exploring their aesthetic vocabulary on a monumental scale with Project for a Wrapped Public Building, in which they proposed shrouding an unspecified parliamentary edifice, the quintessential symbol of public architecture, in fabric tied down with metal cables. Never realized, the project exists in the form of a photographic collage with an explanatory text by the artists.
Throughout the 1960s, Christo and Jeanne-Claude outlined proposals for similar projects, often involving iconic buildings, like the École Militaire station of the Paris Métro (1961). They saw their dreams come to fruition in the summer of 1968, when they received permission to carry out three of their undertakings: Wrapped Fountain, Piazza Mercato, Spoleto, Italy, 1968; Wrapped Medieval Tower, Spoleto, Italy, 1968; and Wrapped Kunsthalle, Bern, Switzerland, 1968. The following year, they cloaked both the Museum of Contemporary Art in Chicago and a mile-long section of the Australian coastline at Little Bay, north of Sydney. Covered with vast quantities of light-colored fabric, battened down using elaborate systems of cables, ropes, and knots, these architectural and natural forms were defamiliarized, transformed into ghostly presences that momentarily disrupted their surroundings.
Beginning in 1970, the artists executed numerous other projects, all of which became icons of environmental art: Valley Curtain, Grand Hogback, Rifle, Colorado, 1970–72, a curtain of orange nylon suspended across a valley; Running Fence, Sonoma and Marin Counties, California, 1972–76, more than twenty-four miles of white nylon fabric snaking across the countryside; Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83, around six and a half million square feet of bright pink fabric floating around eleven islands; The Pont Neuf Wrapped, Paris, 1975–85, honey-hued fabric shrouding the city’s oldest bridge; The Umbrellas, Japan–USA, 1984–91, a scattering of 3,100 blue and yellow umbrellas in the valleys around Ibaraki prefecture, Japan, and Tejon Pass, California; Wrapped Reichstag, Berlin, 1971–95, the celebrated German government building swathed in silver fabric; and The Gates, Central Park, New York City, 1979–2005, more than 7,500 metal frames fitted with saffron fabric panels and arranged along some twenty-three miles of walkway in Central Park. Due to the staggering cost and increasing complexity of these ventures, in terms of technical know-how as well as the administrative and environmental hurdles the artists were obligated to surmount, realization often took years, even decades. Unrealized projects, still considered ongoing, include The Mastaba, a plan for a monumental edifice of stacked oil barrels intended for a desert location in the United Arab Emirates, and Over the River, which would feature intermittent extensive canopies of fabric suspended above a 5.9-mile stretch of the Arkansas River.
In his solo work, Christo continues to conceive projects, some existing on paper only, in which found objects—from magazines, newspapers, and street signs, to nude female models, telephones, computers, and automobiles—are wrapped in fabric or plastic and then twined. These assemblages embody many of the themes Christo and Jeanne-Claude explored in their artistic partnership, among them the opposition between the familiar and the uncanny, the veiled and the exposed, the built and the natural environments, utility and futility, permanence and ephemerality.
Major exhibitions of the artists' work have been organized by the Institute of Contemporary Art in Boston (1979), Museum Ludwig in Cologne (1981), Hiroshima City Museum of Contemporary Art (1990), Martin-Gropius-Bau in Berlin (2001), and the Metropolitan Museum of Art in New York (2004). Jeanne-Claude died in 2009; Christo lives and works in New York City.
-Courtesy Guggenheim