Joe Eula Art

Bright orange leaps up like flames, or swaying grass, over which hovers a large-eyed bee sketched in black and orange. Over the fire-red in neat handwriting Ron Padgett...

FLOWER BALL - BURNING BLOOD Date of creation: 2018 Medium: Offset lithograph with silver and high gloss varnishing on paper Edition number: 30/300 Size: 71 cm Ø Condition: In mint co...

KEITH HARING - Untitled Limited 1990s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 28/150). Lithograph on thick ca...

KEITH HARING - Untitled Limited 1990s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 71/150). Original lithograph on...

KEITH HARING - Untitled Limited 1990s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 15/150). Lithograph on thick ca...

KEITH HARING - Untitled (Andy Mouse) Rare and limited 1990s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 39/150). ...

KEITH HARING - Untitled Limited 1980s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 15/150). Lithograph on thick ca...

KEITH HARING - Untitled Limited 1990s edition by the Keith Haring Foundation, Inc. Only 150 copies total (here 47/150). Original lithograph on...

DAZZLING CIRCUS: EMBRACE PEACE AND DARKNESS WITHIN THY HEART Date of creation: 2016 Medium: Offset lithograph with silver Edition: 300 Size: 68.9 × 53 cm Condition: In mint condition...

Takashi Murakami - THE GOLDEN AGE: HOKKYO TAKASHI Date of creation: 2016 Medium: Offset lithograph with cold stamp and high gloss varnish on paper Edition: 213/300 Size: 71 cm Ø Cond...

Takashi Murakami - PANDA FAMILY AND ME Date of creation: 2013 Medium: Offset lithograph with silver on paper Edition: 300 Size: 50 x 50 cm Observations: Offset lithograph with silver...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...