Andy Warhol

S & H Green Stamps

1965

Skid Row-Self Portrait Color lithograph, 1973 Unsigned (as usual) From: XXe Siecle, Volume XXVV, December 1973 Published by G. di San Lazzaro for A. Maeght, P...

Filtres A Air Lithograph, 1969 Signed in pencil lower right (see photo) Published by Louisiana Museum Humbleback (Denmark) Printed by Clot, Bramsen and Georges, Parigi A proof of the...

Seven Screen print, 1968 Unsigned (as issued) Edition: 2500 From: Number (10 plates), with poems by Robert Creeley Printer: Domberger KG, Stuttgart Publisher: Edition Domberger Stutt...

El Ultimo viaje del buque fantasma, Plate IV Color lithograph, 1976 Signed and numbered in pencil (see photos) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam Edition: 99 (6/99) This one of an edition of 99 from the deluxe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Condition: slight yellows (aging) of paper small paper scuffs verso from previous hinges Sheet size: 22 x 29 7/8 inches About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam This one of an edition of 99 from the delixe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Reference: Lam-Tonneau-Ryckelnck CR 351 Condition: very good, slight scuffing on reverse from previous hinges About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

Derriere Le Miroir-Page 6-7 Color lithograph, 1973 Unsigned (as issued) From: Derriere Le Miroir, No. 201, January 1973 Publisher: Maeght Editeur, Paris Printer: L’Imprimerie Arte, Adrien Maeght Edition: Large (unspecified) There is also a deluxe edition of this issue of DLM, signed and numbered on the justification page, edition 150 Condition: Fresh colors a few spots of foxing near the centerfold, appropriate to it's age Sheet/Image size: 15 x 22 inches Derriere le Miroir (Behind the Mirror) The art...

Richard Smith On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove paper Hand signed, published by Edition Domberger, Bonlanden, West Germany (with their blindstamp) Provenance: Collection of Tom Levine On the Bowery, 1971. The portfolio consists of nine screenprints in colors (one with mylar collage), on wove paper, by representative artists of the Pop Art period. Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher...

Les Levine On the Bowery, 1969 - 1971 Screenprint in color 25.5 x 25.5 inches, signed, numbered 21/100 Hand signed, published by Edition Domberger, Bonlanden, West Germany (with their blindstamp) Provenance: Collection of Tom Levine On the Bowery, 1971. The portfolio consists of nine screenprints in colors (one with mylar collage), on wove paper, by representative artists of the Pop Art period. Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher...

Will Insley On the Bowery, 1969 - 1971 silkscreen on Schoeller's Parole Paper, edition of 100 + 20 A.P. 25.5 x 25.5 inches, signed, numbered 21/100 Screenprint in color on wove paper Hand signed, published by Edition Domberger, Bonlanden, West Germany (with their blindstamp) Provenance: Collection of Tom Levine On the Bowery, 1971. The portfolio consists of nine screenprints in colors (one with mylar collage), on wove paper, by representative artists of the Pop Art period. Cy Twombly, Robert Ryman, Will Insley, Robert Indiana, Les Levine, John Willenbecher...

Plate signed and dated, offset lithograph. Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindners mother was owner of a custom-fitting co...

Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindners mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived in Munich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army. In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines (Vogue, Fortune and Harper's Bazaar). He began painting seriously in 1952, holding his first one-man exhibit in 1954. His style blends a mechanistic cubism with personal images and haunting symbolism. LIndner maintained contact with the emigre community including New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). Though he became a United States citizen in 1948, Lindner considered himself a New Yorker, but not a true American. However, over the course of time, his continental circus women became New York City streetwalkers. New York police uniforms replaced European military uniforms as symbols of authority.At a time when Abstract Expressionism was all the rage, Lindner’s painting went against the current and always kept its distance. His pictorial language of vibrant colours and broad planes of colour and his urban themes make him a forerunner of American Pop Art. At the same time, he owes the critical tone of his paintings to the influence of European art movements such as Neue Sachlichkeit and Dada. His first exhibition did not take place until 1954, by which time he was over fifty, and, interestingly, it was held at the Betty Parsons Gallery in New York, a venue associated with the American Expressionists. From 1952 he taught at the Pratt Institute, Brooklyn, from 1967 at Yale University School of Art and Architecture, New Haven. In 1957 Lindner got the William and Norma Copley Foundation-Award. In 1965 he became Guest Professor at the Akademie für Bildende Künste, Hamburg. His Ice (1966, Whitney Museum of American Art) established a connection between the metaphysical tradition and pop art. The painting shows harsh, flat geometric shapes framing an erotic but mechanical robot-woman.His paintings used the sexual symbolism of advertising and investigated definitions of gender roles in the media. While influencing Pop Art (Tom Wesselman and Claes Oldenburg amongst others) his highly colourful, hard-edge style seems to have brought him close to Pop Art, which he rejected. Nevertheless, he is immortalised on the cover of the Beatles record...

Hand Signed verso D. Herbert and numbered 1 of 20. (possibly Don Herbert)