Valerio Adami

Runner - Lithograph (Olympic Games Munich 1972)

1972

Cecile DE BRUIJN Sphinx and Bird Original screen print Handsigned in pencil Numbered / 60 ex On vellum 56 x 38 cm (c. 22 x 15 inch) Excellent condition

Cecile DE BRUIJN Woman with Bird, c. 1995 Original screen print Handsigned in pencil Numbered / 20 ex On vellum 76 x 56 cm (c. 30 x 22 inch) Excellent condition

Jean Paul Riopelle The Face Lithograph (plate signed) printed in Atelier Arte Vellum paper 10 x 10" 1974 INFORMATION : This lithograph was created for the invitation card t...

Jean Paul Riopelle Abstract composition Lithograph (plate signed) printed in Atelier Arte Vellum paper 11 x 11" 1976 INFORMATION : This lithograph was created for the invit...

Andre LANSKOY Abstract Composition on Black Background Original lithograph Handsigned in pencil Numbered / 120 copies On Arches vellum 65 x 50 cm (c. 26 x 20 in) Excellent condition

Antoni CLAVE Interiors : Abstract Flowers Original lithograph Printed in Sudef workshop c. 1975 Created for the artist exhibition at Gallery Vision Nouvelle 75 x 55 cm (c. 30 x 22 i...

ROSENQUIST, JAMES (1933 - 2017) F-111 (Castelli Gallery Poster) Offset Lithograph c. 1965 Signed and dated in pencil along lower edge Sheet Size: 28” x 22”, Fresh ...

JAMES ROSENQUIST "Ten Days, from The New York Collection for Stockholm" Lithograph in colors on paper,1973 9 x 12 inches (22.9 x 30.5 cm) (sheet) Ed. 114/300 Signed, numbered, and d...

JAMES ROSENQUIST (B. 1933) "Woman in the Sun" 15 color lithograph from aluminum plate on mould-made paper, white Rives BFK, 1991 Catalog #225 She...

Ice Point. Original color lithograph, 1983. Edition of 150 signed and numbered impressions on Arches paper. Art and Sport portfolio: The Yugoslav Olympic Committee of the Winter Olympic Games Sarajevo...

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...

This abstract composition features a cropped view of the words SIGHT SEEING, in bold all-capital lettering. Roses fill the top line of text, and the bottom line of text in white is s...