Robert Indiana

ERR (Sheehan 29)

1963

Robert Indiana American Dream (EAT / DIE / HUG / ERR) (Sheehan, 136), 1986 Hard and soft-ground etching, aquatint, drypoint and stencil on white Arches paper 37 inches × 21 inches ...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Stamped and dated with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket simultaneously reflects Warhol's central preoccupations with commercial culture (the ticket is, par excellence, an object that is bought and sold), as well as his fascination with Hollywood - as the ticket, quite literally, represents an entree into the world of film. Warhol's appropriation of the flower - an otherwise sentimental and decorative motif, transforming it into a symbol of the Pop Art movement, is a hallmark of his early style and innovations. Andy Warhol's vibrant vintage color silkscreen Lincoln Center Ticket from the fabulous Sixties is considered one of the more iconic and recognizable Warhol images. It is also one of Warhol's earliest prints. The Vera List...

Peter Saul Golden Gate Bridge, 1968 Five color lithograph on German etching paper with deckled edges with collectors press chop mark Hand signed, titled and numbered "Artist Proof" lower front; also bears Collector's Press chop mark, and chop mark of master printer Tony Ko Frame Included: floated and framed in the original wood frame Provenance: from the Estate of the legendary California artist, Roy DeForest Accompanied by a copy of the publisher's documentation sheet (see image) This work is one of three hand signed Artist's Proofs, aside from the regular edition of 50. It is one of Peter Saul's most celebrated prints; the not so subtle at all symbolism speaks for itself, such as the gigantic dollar sign and wagging tongue (money talks loudly), set against San Francisco's iconic Golden Gate bridge. This print does not often appear on the market, as so many from this edition are already in the permanent collection of major museums and institutions. Other examples of this work were featured in the exhibitions: "Print Retrospective, 1966-2010", from September 16 – December 22, 2011 at the Carl Solway Gallery in Ohio, and "Peter Saul: Prints and Drawings, 1960 -1975", from February 26 – April 11, 2009, at The George Adams Gallery...

Tracey Emin Beautiful Girl II, 2011 Etching, with chine-collé on 300 GSM Somerset paper, with full margins Signed and numbered 52/100 on the front in graphite pencil; also titled by ...

Stanley William Hayter Torero (de-accessioned from the Denver Art Museum), 1929-1933 Engraving on laid paper, third (final) state, on heavy BFK Rives off-white wove paper Signed, tit...

Warrington Colescott Your Day in Court, from the portfolio Wisconsin Graphics, 1971 Drypoint, etching, aquatint, woodcut, & soft-ground etching, w roulette, vibrograver, letterpress ...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...

Woodcut, collagraph and photo-engraving in colors, on Rives Lightweight Cream paper, with full margins. Hand signed, dated and numbered lower front by Jim Dine. From the edition of...

James Rosenquist (1933-2017) Just Desert (2nd State) (1979, 1979 Etching and aquatint on Pescia Italia paper Printed by Aripeka, Ltd., Aripeka. Published by Multiples, Inc., New York...

Spokes (1977) and Spokes: 2 State (1978). Each hand signed, dated, numbered and titled by the artist. Both prints have matching editions. Etching and aquatint on Pescia Italia paper....

Horse Study Fuchsia by Guy Allen [2020] limited_edition Etching, Aquatint and Screen Print on Paper Edition number 45 Image size: H:53.5 cm x W:56 cm Comp...

Donald Baechler, Szechuan Garden, 2003: Medium: Aquatint and soft-ground etching. Sheet size: 27 x 34 inches. Edition of 35 (30 + 5 artists proofs). Hand-signed, dated and numbered on bottom of sheet. Printed on Hanhnemuhle paper. Unframed. Acquired directly from publisher. Artist Biography: Donald Baechler, a member of the East Village art scene in 1980s New York, is known for his painting-collage-drawing works depicting of childhood imagery and nostalgic ephemera like grammar school primers, old maps, and children’s drawings...