(after) Roy Lichtenstein

Vintage Offset Lithograph Triptych Roy Lichtenstein Pop Art Stedelijk Print

Silkscreen screenprint or Lithograph Hand signed and numbered. An esoteric, mystical, Kabbala inspired print with Hebrew as well as other languages. Joseph Charles Tilson RA (born 2...

Öyvind Axel Christian Fahlström (1928–1976) was a Swedish Multimedia artist. Fahlström was born in Sao Paulo, Brazil, In July 1939 he was sent to Stockholm to visit some distant relatives and after World War II he started to study and later on to work as a writer, critic and journalist. From 1960 until 1976 he was married to the Swedish Pop Art painter Barbro Östlihn. In 1953 Fahlström had his first solo exhibition, showing the drawing Opera, a room-sized felt-pen drawing. Also in 1953 he wrote Hätila ragulpr på fåtskliaben, a manifesto for concrete poetry, published in Swedish the following year and in English translation (by Mary Ellen Solt, in her anthology "Concrete Poetry. A world view") in 1968. In 1956 Fahlström moved to Paris and lived there for three years before he moved to Front Street studio, New York City. In New York he worked with different artists and explored his role as an artist further. In 1962 he participated in the New Realists exhibition at the Sidney Janis Gallery, in New York City. His work was included in the 1964 Venice Biennale and he had a solo exhibition at Cordier & Ekstrom Inc., New York. In 1965 he joined the Sidney Janis Gallery. In 1966 his work Performance of Kisses Sweeter Than Wine was included in 9 Evenings: Theatre and Engineering, organized by Experiments in Art and Technology at the 26th Street Armory, New York. The same year his painting in oil on photo...

On deckle edged watermarked Arches French paper. hand signed in pencil, dated and numbered. the edition size is 175. there are three states of the same image image each with increasing detail and color. This is just for the one in the photo. Josef Alan Levi (1938) is an American artist whose works range over a number of different styles, but which are unified by certain themes consistently present among them. Josef Levi began his artistic career in the 1960s and early '70s, producing highly abstract and very modernist pieces: these employing exotic materials such as light fixtures and metallic parts. By 1975, Levy had transitioned to painting and drawing still lifes. At first these were, traditionally, of mundane subjects. Later, he would depict images from art history, including figures originally created by the Old Masters. Around 1980, he made another important shift, this time toward creating highly precise, though subtly altered reproductions of pairs of female faces which were originally produced by other artists. It is perhaps this work for which he is most well known. Since around 2000, Josef Levi has changed the style of his work yet again: now he works entirely with computers, using digital techniques to abstract greatly from art history, and also from other sources. Levi's works of art in the collections of the Museum of Modern Art, NYC, the National Gallery of Art, and the Albright-Knox Museum, among many others. Levi's art has been featured on the cover of Harper's Magazine twice, once in June 1987, and once in May 1997. Josef Levi received a Bachelor of Arts degree in 1959 from the University of Connecticut, where he majored in fine arts and minored in literature. From 1959 to 1960, he served to a first lieutenant in the U.S. Army, and from 1960 through 1967 he was in the U.S. Army Reserves. In 1966, he received the Purchase Award from the University of Illinois in 1966, and he was featured in New Talent U.S.A. by Art in America. He was an artist in residence at Appalachian State University in 1969, taught at Farleigh Dickenson University in 1971 and was a visiting professor of art at Pennsylvania State University in 1977. From 1975 to 2007, Levi resided in New York City. He now lives in an apartment in Rome, where he is able to paint with natural light as he was unable in New York. From 1959 to 1960, Josef took some courses of Howard McParlin Davis and Meyer Schapiro at Columbia University which initiated him into the techniques of reproducing the works of the Old Masters. His first works, created in the 1960s, were wood and stone sculptures of women. His first mature works were abstract pieces, constructed of electric lights and steel. In 1970, Levi's materials included fluorescent light bulbs, Rust-Oleum and perforated metal in addition to paint and canvas. By 1980, Josef Levi's art had transformed into a very specific form: a combination of reproductions of female faces which were originally depicted by other artists. The faces which he reproduces may be derived from either portraits or from small portions of much larger works; they are taken from paintings of the Old Masters, Japanese ukiyo-e, and 20th-century art. Artists from whom he has borrowed include: Vermeer, Rembrandt, Piero della Francesca, Botero, Matisse, Utamaro, Correggio, Da Vinci, Picasso, Chuck Close, Max Beckmann, Pisanello, Lichtenstein. The creation of these works is informed by Levi's knowledge and study of art history. Josef Levi's paintings from this period are drawn, then painted on fine linen canvas on wooden stretchers. The canvas is coated with twenty-five layers of gesso in order to produce a smooth surface on which to work. The drawing phase takes at least one month. Levi seals the drawing with acrylic varnish, and then he may apply layers of transparent acrylic in order to approximate the look of old paintings. After the last paint is applied, another layer of acrylic varnish is sprayed on to protect the work. Most of the figures in his contemporary pieces are not paired with any others. SELECTED COLLECTIONS MUSEUM OF MODERN ART, NEW YORK, NY ALBRIGHT- KNOX GALLERY, BUFFALO, NY ALDRICH MUSEUM OF CONTEMPORARY ART, RIDGEFIELD, CT NATIONAL GALLERY OF ART, WASHINGTON, DC BROOKLYN MUSEUM OF ART, BROOKLYN, NY SMITHSONIAN NATIONAL MUSEUM OF AMERICAN HISTORY, WASHINGTON, DC CORCORAN GALLERY, WASHINGTON, DC UNIVERSITY OF NOTRE DAME ART...

Roy Lichtenstein Mermaid Original lithograph on Arches paper from the estate of one of the original donors to the sculpture. 8 Color litho on pap...

Malcolm Morley (British, b. 1931) Silkscreen screenprint Title: Marine Sergeant at Valley Forge Hand signed lower right. on BFK Rives paper. Provenance: Estate of Roger Prigent - Malmaison. (from Kornblee Gallery, photo of label but label is not included) Image: 19 1/4"H x 16" W; Sheet: 30 1/4"H x 22 1/2" W. Printer: Chiron Press (New York, NY) Date: 1969 Malcolm Morley (1931-2018) is an English artist now living in the United States. He is best known as a photorealist. Morley was born in north London. He had a troubled childhood—after his home was blown up by a bomb during the Blitz in World War II, his family was homeless for a time—and did not discover art until serving a three-year stint in Wormwood Scrubs prison. After release, he studied art first at the Camberwell School of Arts and then at the Royal College of Art (1955–1957), where his fellow students included Peter Blake and Frank Auerbach. In 1956, he saw an exhibition of contemporary American art at the Tate Gallery, and began to produce paintings in an abstract expressionist style. In the mid 1960s, Morley briefly taught at Ohio State University, and then moved back to New York City, where he taught at SUNY Stony Brook from 1970 through 1974 and the School of Visual Arts. In the early 1980s he was married to the Brazilian artist Marcia Grostein...

Judy Rifka (American, b. 1945) 44/84 Lithograph on paper titled "Thou Shalt Not Bear False Witness against Thy Neighbor"; Depicting an abstract composition in blue, green, red and black tones with Hebrew script. Judaica interest. (I have seen this print described as a screenprint and as a lithograph) Hand signed in pencil and dated alongside an embossed pictorial blindstamp of a closed hand with one raised index finger. Solo Press. From The Ten Commandments Kenny Scharf; Joseph Nechvatal; Gretchen Bender; April Gornik; Robert Kushner; Nancy Spero; Vito Acconci; Jane Dickson; Judy Rifka; Richard Bosman and Lisa Liebmann. Judy Rifka (born 1945) is an American woman artist active since the 1970s as a painter and video artist. She works heavily in New York City's Tribeca and Lower East Side and has associated with movements coming out of the area in the 1970s and 1980s such as Colab and the East Village, Manhattan art scene. A video artist, book artist and abstract painter, Rifka is a multi-faceted artist who has worked in a variety of media in addition to her painting and printmaking. She was born in 1945 in New York City and studied art at Hunter College, the New York Studio School and the Skowhegan School of Painting and Sculpture in Maine. Rifka took part in the 1980 Times Square Show, (Organized by Collaborative Projects, Inc. in 1980 at what was once a massage parlor, with now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, Jean-Michel Basquiat, and Kiki Smith, the roster of the exhibition reads like a who’s who of the art world), two Whitney Museum Biennials (1975, 1983), Documenta 7, Just Another Asshole (1981), curated by Carlo McCormick and received the cover of Art in America in 1984 for her series, "Architecture," which employed the three-dimensional stretchers that she adopted in exhibitions dating to 1982; in a 1985 review in the New York Times, Vivien Raynor noted Rifka's shift to large paintings of the female nude, which also employed the three-dimensional stretchers. In a 1985 episode of Miami Vice, Bianca Jagger played a character attacked in front of Rifka's three-dimensional nude still-life, "Bacchanaal", which was on display at the Museum of Art Fort Lauderdale. Rene Ricard wrote about Rifka in his influential December 1987 Art Forum article about the iconic identity of artists from Van Gogh to Jean-Michel Basquiat and Keith Haring, The Radiant Child.The untitled acrylic painting on plywood, in the collection of the Honolulu Museum of Art, demonstrates the artist's use of plywood as a substrate for painting. Artist and writer Mark Bloch called her work "imaginative surfaces that support experimental laboratories for interferences in sensuous pigment." According to artist and curator Greg de la Haba, Judy Rifka's irregular polygons on plywood "are among the most important paintings of the decade". In 2013, Rifka's daily posts on Facebook garnered a large social media audience for her imaginative "selfies," erudite friendly comments, and widely attended solo and group exhibitions, Judy Rifka's pop art figuration is noted for its nervous line and frenetic pace. In the January 1998 issue of Art in America, Vincent Carducci echoed Masheck, “Rifka reworks the neo-classical and the pop, setting all sources in quotation for today’s art-world cognoscenti.” Rifka, along with artists like David Wojnarowicz, helped to take Pop sensibility into a milieu that incorporated politics and high art into Postmodernism; Robert Pincus-Witten stated in his 1988 essay, Corinthian Crackerjacks & Passing Go that "Rifka’s commitment to process and discovery, doctrine with Abstract Expressionist practice, is of paramount concern though there is nothing dogmatic or pious about Rifka’s use of method. Playful rapidity and delight in discovery is everywhere evident in her painting." In 2016, a large retrospective of Rifka's art was shown at the Jean-Paul Najar Foundation in Dubai. In 2017, Gregory de la Haba presented a Rifka retrospective at the Amstel Gallery in The Yard, a section of Manhattan described as "a labyrinth of small cubicles, conference rooms and small office spaces that are rented out to young entrepreneurs, professionals and hipsters". In 2019 her video Bubble Dancers New Space Ritual was selected for the International Istanbul Bienali. Alexandra Goldman Talks To Judy Rifka About Ionic Ironic: Mythos from the '80s at CORE:Club and the Inexistence of "Feminist Art" Whitehot Magazine of Contemporary Art. She was included in "50 Contemporary Women Artists", a book comprising a refined selection of current and impactful artists. The foreword is by Elizabeth Sackler of the Brooklyn Museum’s Sackler Center for Feminist Art. Additional names in the book include sculptor and carver Barbara Segal...

”Still Life with Lobster”. Signed, dated and numbered rf Lichtenstein ’74 2/100. Lithograph and screenprint in colours, I. 81.7 x 78.8 cm, S....

Framed in a bright yellow boarder, Roy Lichtenstein Reflections on Minerva, from Reflections, 1990 shows a distressed Minerva partially obscured by reflective lines. As if she is beh...

Roy Lichtenstein Reflections on Brushstrokes, from the Reflections Series, 1990 incorporates his iconic multimedia imagery, flowing with eclectic and imaginative sequence of shapes. Bright colors of neon yellow, blue, gray, and green intertwine against each other creating a strong contrasting effect. Shapes and forms are irregularly placed within a rectangular frame allowing the composition to stand out. Lichtenstein’s famous dots are dispersed along the cream colored block running through mainly the center of the image. This creates a comic-like effect that is a common theme throughout his entire oeuvre. Because Reflections is an important series where Lichtenstein uses multimedia and relates to his Mirrors paintings of the early seventies. Dots, stripes, mirrors, prominent brushstrokes presents themselves in a dashing manner throughout this series. Created in 1990, Roy Lichtenstein Reflections on Brushstrokes, from the Reflections Series, 1990 is a color lithograph, screenprint, woodcut, and metalized PVC collage with embossing on Somerset paper. This work is hand signed and dated by Roy Lichtenstein (New York, 1923 – New York, 1997) in pencil in the lower right margin. Numbered from the edition of 68 in pencil in the lower right margin, there were also 16 artist proofs. Catalogue Raisonné: Roy Lichtenstein Reflections on Hair...

Created in 1981 as an original lithograph with screen-printing, Roy Lichtenstein’s, Study of Hands is hand-signed in pencil, dated and numbered, measuring 31 ¼ x 32 ¾ in. (79.5 x 83....

A very rare serigraph by Peter Max, created in 1979 called "Talking to Karen". This is one of Max's most collectible periods and works.

A classic Rosenquist pop art composition with gold, turquoise, purple, pink, blue, green and yellow. Characteristically surreal and graphic, Rainbow incorporates bold geometric forms with painterly washes of color and airbrush texture. Rosenquist's signature gleaming metallic chrome texture can be seen on an inverted fork behind the glass of a golden window. Paper 25.25 x 30.25 in. / 64 x 77 cm Image 17 x 21.5 in. / 43 x 54.5 cm Lithograph with screenprint on cream-coloured Hodgkinson handmade Wookey Hole paper. Edition of 75 with 8 color trial proofs: this impression 8/8. Signed and dated 1972 lower right in pencil; titled, numbered 8/8 and labeled Color Trial Proof lower left in pencil. This graphic, colorful scene is based on Rosenquist’s 1962 oil painting of the same name, collected in the Museum Ludwig in Cologne. The artist used real glass and wood to construct windows for the original painting – here, house siding is abstracted to bold, black horizontal lines, and the window glass is printed in dark gold ink. At the top of the composition, a window with shutters pushed open is colored in turquoise, with sharp black shadows. The left-hand window pane is shattered, and to the right, the outline of an oversized...