Exclusive Signed Art Card by Christo and Jeanne Claude - "Wrapped Cans and Bottles" - Professionally Framed Dive into the world of contemporary art with this exquisite piece by the legendary duo Christo and Jeanne Claude. Up for auction is a rare, hand-signed art card of "Wrapped Cans and Bottles" a pivotal work that showcases the artists' unique vision and their environmental commentary through art. Key Features: • This lot includes the iconic "Wrapped Cans and Bottles" art card, professionally framed and personally signed by Christo himself , adding a touch of exclusivity. • Frame Dimensions: The piece is elegantly presented within a professional frame measuring 25.00 cm x 20.00 cm x 4.00 cm, ensuring it commands attention wherever displayed. • Art Card Size: The art card (visible part) itself measures 16,00 cm x 10,80 cm, perfectly capturing the essence of the original installation. • Condition: The art card and frame are in excellent condition, preserved meticulously to maintain their pristine state. • Quality Framing: Unlike standard offerings, this art piece is framed professionally with protective glass to safeguard its beauty and integrity. This is not your average Amazon frame; details and pictures highlight its superior quality. • Shipping: This piece will be carefully packaged to ensure its safe arrival. It will be sent via registered mail with track and trace options (GLS, UPS, BRT or DHL), giving you peace of mind throughout the shipping process. Additional: On request, we can issue a sales invoice, providing the fiscal details of the winning bidder. Why This Piece? Owning a piece of Christo and Jeanne Claude's work is more than an acquisition; it's an investment in a legacy. Their installations have captivated audiences worldwide, and "Wrapped Cans and Bottles" is no exception. This signed art card not only serves as a testament to their groundbreaking work but also as a unique collector's item that holds historical and artistic value. Don't miss the opportunity to own a piece of art history. Whether you're a seasoned collector or a new enthusiast, this signed and professionally framed art card by Christo and Jeanne Claude is a must-have. Place your bid now and add a masterpiece to your collection that will be admired for years to come. In March 1958, Christo arrived in Paris where he created his first wrapped cans. It started with a small, empty paint can, of which there were many lying around in his studio. Christo wrapped the insignificant object in resin-soaked canvas, tied it up and coated the result with a mixture of glue, varnish and sand and a thin layer of dark-black or brown lacquer. If we consider the fact that Christo always contrasted his wrapped cans with versions with no wrapping, it soon becomes clear that he was interested not only in the concealment of the object but also in the comparative analysis of the three-dimensional qualities of different objects, surfaces and materials. He had the choice of either wrapping the cans or painting them. Others he left unchanged, so that the company name or at least parts of it could still be deciphered under the many blotches of paint. The first of these ensembles was limited to only two cans, but soon whole groups appeared consisting of a variety of wrapped, painted and unaltered cans and bottles. It is important to point out that none of the works are mounted on a base, which implies that Christo did not explicitly prescribe the arrangement of the individual components. In reality, the cans, now scattered among collections, were once part of a large installation of wrapped, painted and unaltered cans, bottles and crates that Christo did between 1958 and 1960 and baptized Inventory. All the works were originally conceived to be presented in the corner of a room as an ensemble, roughly comparable to the household inventory that one piles in the corner of a room when one moves into a new house. In addition to the fact that the work has been fragmented into its separate parts, there is the aggravating circumstance that only fragments of the many pieces still exist today. When Christo and Jeanne-Claude moved to New York in 1964 and were unable to pay the rent on their storeroom in Gentilly, a suburb of Paris, their landlord threw all the works in the garbage. The only reason that some of the cans, bottles and barrels survived is that Christo had several small studios and storage rooms at the time, among them a basement room attached to the apartment belonging to Jeanne-Claude's mother. An exceptional opportunity to acquire an authentic artwork by Christo and Jeanne Claude (also known in different periods as Cristo, Chrito, Javacheff), a rare limited edition offset, book, framed, or lithograph print that belongs to the same visionary current of monumental wrapped interventions. This work evokes the artistic language that resonates with the spirit of Andy Warhol pop art, the provocations of Banksy, Invader, Cattelan, Robert Indiana, Damien Hirst, Mario Schifano, Lodola, and even contemporary Street Art like bordalo, aerosol, fin dac, Whatshisname and monopoly. Christo and Jeanne Claude’s career spans extraordinary projects: from the London Mastaba floating on the Serpentine, to The Floating Piers on Lake Iseo (lago, Italy, Italia, near Como), where saffron colored panels invited the public to walk on water; from the dramatic wrapping of the Reichstag in Berlin to the luminous fabric gates in New York’s Central Park among the trees. Their legacy also includes The Pont Neuf in Paris, the majestic Umbrellas in both Japan (Ibaraki, Yellow) and California (Los Angeles, Tejon Pass), the legendary Running Fence across landscapes, oceanfront Walk Ways, and ambitious concepts like Over the River (Arkansas, Rio Grande, New Mexico). Earlier gestures included the Wall of Oil Barrels, interventions in Rue Visconti in 1962, and the playful Store Front Project with a purple store front in Rome. Other celebrated achievements are the pink Surrounded Islands in Miami’s Biscayne Bay, Florida, the monumental Mastaba project in Abu Dhabi, United Arab Emirates, the studies in the desert of Liwa, and site-specific works in Coast Sydney, Bern Kunsthalle, Kassel (Documentation IV), Fondation Beyeler in Basel, and of course the historic Arc de Triomphe wrapping in Paris, a silvery vision shaped by the blue ropes and recyclable polypropylene fabric. Italian and Roman settings resonate too: Duomo, Piazza Vittorio Emanuele, Villa Borghese, Veneto, all bearing witness to ephemeral transformations. Christo’s materials and techniques became signatures: wrap, wrapped, wrapping with polyethylene, polypropylene, woven polyester, heavy woven white nylon, aluminum, rope, twine, steel cable. Early explorations included playful packages—“Paket, Empaquetage”—objects like a wheelbarrow, cubicmeter, or everyday bottles and cans, transformed into poetic gestures. Strong elements like oil, iron, curtain revealed his fascination with density and monumentality. Documentation and collaboration often involved figures such as Michael S. Cullen and Roland Specker, guardians of memory and narrative. This artwork, held in prestigious institutions such as MoMA (Museum of Modern Art, New York), Center Pompidou (France), and celebrated in exhibitions across Rome, Paris, Berlin, Bristol, Swiss museums, German collections, and sites in Usa, Central Park, Colorado, Valley Curtain, Swatch, Rifle, Aspen, San Francisco on the Pacific Ocean, Tokyo, Australia, California, and the United States (Missouri, Kansas, Jacob Loose), belongs to a global legacy of monumental transformation. Brand desig”: Vitra, Knoll, Herman Miller, USM Haller, Louis Poulsen, HAY, Iittala, Thonet, Minotti Designer/architetti: Arne Jacobsen, Aalto, Panton, Saarinen, Castiglioni, Mangiorotti, De Lucchi, Bouroullec, Rams, Noguchi As an object, this piece is also a luxury treasure: it dialogues not only with the world of fine art but with the culture of design (Kartell, Eames, Artifort, Flos, bearbrick), high fashion (Prada, Dior, Louis Vuitton, Givenchy, Fendi, Gucci, YSL, Saint Laurean, Hermès), watches (Rolex Daytona, Patek Philippe Nautilus, Audemars Piguet, Submariner, GMT, Richard Mille, C215), and even the refined aura of Porsche and Ferrari—true works of mechanical art. References to pop icons such as Spider-Man, Asterix, Tintin further place Christo’s art in a living cultural dialogue. Rare, collectible, and poetic, this signed edition represents not only an artwork but a gift (a perfect Xmas / Christmas Gift) of immense cultural resonance—an invitation to bring into one’s collection a piece of history shaped by fabric, light, and vision. It is art, it is documentation, it is lux, lusso, luxury, fabric lux: a vestibule into the extraordinary imagination of Christo and Jeanne Claude. In this wider cultural landscape, Christo and Jeanne Claude’s poetics resonate with the energy of a new generation of artists who, like Matt Gondek, Juce Gace, Suketchi, Add fuel or Vhils, carve and deconstruct the urban skin of our cities, while JonOne, Swoon, Munday, OG slick, fake, pichiavo (or pichi avo) or Pantone transform color and gesture into vibrant urban stories. The irreverent language of D*Face, Blek le Rat, Mr. Brainwash or Chevrier keeps alive the provocations that once shook the art world, just as Séraiva, Seth and Snik Martin Whatson, Faccincani, Aubertin and Kostabi continue to blur the boundaries between tradition and experiment. Banksy’s interventions — from the Walled Off Hotel in Palestine to the Di Faced Tenner, Peckham Rock, Wall and Piece, the Love Welcome Mat and the biting irony of Weapons of Mass Distraction — extend the same tension between playfulness and critique that animated Christo’s monumental wrappings. Curators like Steve Lazarides, projects such as Crude Oils or Postcards, iconic figures like the Companion Obama or Marianne, and ephemeral universes like Dismaland in Weston-super-Mare or Cut & Run in Glasgow, all feed a narrative where art becomes both spectacle and statement. Even fashion, design and pop culture — from Balenciaga and Chanel to Disney, Liechtenstein and Virgil Abloh — become part of this conversation, proving that the fabric of contemporary imagination is woven across disciplines, borders, and generations. Falco, Freeny, Art Vladi, borondo, XTC, britto, silkscreen, Hayden Kays, Jeff Aerosol, Thun, Natuzzi, Seen Christo and Jeanne-Claude were visionaries whose monumental projects opened unexpected dialogues across the worlds of art, design, and culture. Their practice resonated with the rebellious energy of Pure Evil and Cope2, the playful aesthetics of Atari, Shrigley, and Dillon Boy, and the poetic interventions of JR, Findac, Icy & Sot, El Pez, Hopper, and Mesnager. Echoes of Lagasse, James Rizzi, and Angel Ortiz can be felt in their vibrant approach, just as the dotted universes of Yayoi Kusama, the futuristic gestures of Futura2000, and the surreal dreamscapes of Bruno Bani, Joan Miró, and Salvador Dalí aligned with their vision of transforming the ordinary into the extraordinary. Their spirit was equally in tune with design and fashion. They admired the sleek lines of Alessi, Armani, and Apple, while their daring creativity recalled the boldness of Basquiat and the elegance of Bentley, Breitling, Cartier, Chopard, and Cavalli. The radical experiments of Daniel Arsham, Enzo Mari, and Gio Ponti paralleled their own, while the playful energy of Hot Wheels, Imbue, or even the cinematic glamour of James Bond brought their art into dialogue with popular icons. Jason Freeny’s deconstructed figures, Jordan’s timeless symbols, Liechtenstein’s pop language, the universes of Pikachu and Charizard, Mondriaan’s geometry, and the collectible culture of Medicom further reveal the breadth of their connections (arsham). Drawing on a lineage that runs from Picasso, van Gogh, Monet, Dalí, and Rembrandt to Miró, Hockney, Ruscha, Ai Weiwei, Kapoor, Soulages, Noguchi, Le Corbusier, and Prouvé, Christo and Jeanne-Claude forged a language entirely their own. Always curious about new forms, Christo and Jeanne-Claude embraced the irreverence of Mr Doodle, the craftsmanship of Montblanc, and the global impact of Nike, Nintendo, and Off-White. Their work shared affinities with Philippe Starck’s visionary design, Supreme’s street energy, Stik’s minimalist figures, and the playful imagination of Seletti, Stilnovo, and Yoshitomo Nara. Together, these affinities show how Christo and Jeanne-Claude were never isolated, but part of a vibrant cultural network where high art and everyday icons converged. Please note that it is possible to issue a regular sales invoice for the auction in question, upon request. Obey giant, Murakami, Kaws, Koons, Lego, Pokemon, Keith Haring, Shepard Fairey, Orlinski, Birkin, Kelly