Robert Rauschenberg

Democratic Party Human Rights Dinner (signed Pop Art print edition of only 100)

1981

Robert Indiana Stable Gallery 16 October 1962 (Hand Signed & Inscribed) Silkscreen on art paper Signed and Dedicated in pencil on the recto. The dedication and signature reads "For...

Richard Pettibone The Appropriation Print: Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 (Andy Warhol's Electric Chair, Frank Stella's Empress of India and Roy Lichtenstein's Spray) Silkscreen in colors on smooth wove paper Pencil signed and dated 1971 on the front Frame included: Elegantly floated and framed in a white wood frame under UV plexiglass in accordance with museum conservation standards Measurements: frame: 15 7/8 x 19 3/4 x 1 3/4 inches sheet: 12 1/4 x 16 inches This is one of Richard Pettibone's most iconic, popular and desirable prints done in 1970 - during the most influential era of the Pop Art movement. This homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. Pencil signed and dated recto. It was created in limited edition - though the exact number is not known. More about RIchard Pettibone: As a young painter, Richard Pettibone began replicating on a miniature scale works by newly famous artists, and later also modernist masters, signing the original artist’s name as well as his own. His versions of Andy Warhol’s soup...

Larry Rivers At The Dwan Gallery: Rivers Small Recent Work (Hand Signed), 1965 Silkscreen on wove paper Hand signed and dated "Rivers, 1965" in graphite p...

Robert Indiana HEAL, 2015 Silkscreen on 2ply Rising Museum Board Signed, dated and numbered 5/25 on the front This is one of the last works the artist personally signed before he pas...

Andy Warhol Flash portfolio colophon pages, JFK Assassination, 1968 2 Separate Silkscreens: (1) Silkscreen text on paper and teletype text; (2) colophon sheet in pencil and numbered XVII (from the edition of 26 (roman numerals) Hand-signed by artist, two silkscreen prints; the colophon sheet is hand signed by Andy Warhol; no signature on sheet with teletype 21 1/2 × 21 1/2 inches Unframed Note: measurements are for each sheet Catalogue Raisonne Reference: FS II.32-42 (not illustrated) Silkscreened colophon sheet of the edition XVII of the iconic "Flash" Portfolio; hand signed and uniquely numbered by Andy Warhol, plus silkscreened print with teletype text. These two prints from Warhol's iconic "Flash Portfolio" were selected for inclusion in the blockbuster Andy Warhol retrospective at the Whitney Museum in 2019. (see photos). The plaque on the Whitney exhibition (also see included photo) describes the portfolio as follows:" These screenprints reflect Warhol's ongoing interest in the Kennedy assassination, an obsession that intensified following the release of the Warren Commission report and the publication of stills from a short home movie of the event, published by bystander Abraham Zapruder. Flash - November 22, 1963 is an unbound Artists Book with text based upon the original Associated Press newswire bulletins. For his illustrations, Warhol appropriated the recurring image of Kennedy from a 1960 campaign poster, and sourced the remaining photographs, including pictures of Lee Harvey Oswald and an ad for the type of rifle used, from Life's [Magazine] sustained coverage of the assassination and its aftermath.." The present sheet begins with the following teletyped text: "THE TWO WOUNDED MEN WERE RUSHED TO EMERGENCY ROOMS, AND THE HOSPITAL'S PUBLIC ADDRESS SYSTEM RANG WITH CALLS FOR ALL STAFF DOCTORS. FLASH DALLAS - TWO PRIESTS SUMMONED TO KENNEDY X IN EMERGENCY ROOM BULLETIN 3RD ADD 2ND LEAD KENNEDY XX DOCTORS TWO PRIESTS ENTERED THE EMERGENCY ROOM WHERE THE PRESIDENT WAS BEING TREATED AT 12:49 P.M. (CST). THERE WAS STILL NO OFFICIAL WORD ON THE PRESIDENT'S CONDITION. ASSISTANT WHITE HOUSE PRESS SECRETARY MALCOLM XXX KILDUFF SAID "I JUST CAN'T SAY. I JUST CAN'T SAY." FLASH -- PRIESTS SAY KENNEDY DEAD. .""" (the text on the page continues; this is just a partial excerpt.) Racolin Press, Briarcliff Manor, New York Two Andy Warhol silkscreens on white wove paper comprising the signed colophon and text pages of his iconic 1968 "Flash" Portfolio, as well as Warhol's wraparound silkscreen of the distinctive teletype text. The colophon page silkscreen is hand signed by Andy Warhol and uniquely numbered XVII in pencil from the edition of 26, which, it expressly states, was not for sale. The second silkscreen sheet features teletype print describing events surrounding the assassination of President John F. Kennedy - the defining event of a generation as contemporaneously re-imagined by the most important Pop artist of the era. Warhol created the "Flash - November 22, 1963" portfolio of prints in 1968 to depict the continuing media spectacle surrounding JFK's assassination. He named the portfolio after the news flash Teletype texts that reported the assassination and its aftermath - the first major news event played out live on TV. The Flash portfolio includes a series of eleven silkscreens depicting President Kennedy smiling broadly, a presidential seal with bullet holes through it, and other symbolic representations of that tragedy. The portfolio's cover includes an image of the New York World-Telegram front page with the headline "President Shot Dead." Warhol used screen printed...

ROBERT INDIANA Santa Fe Opera (Hand signed, numbered), 1976 Silkscreen on wove paper 37 1/2 × 27 inches Edition AP 7/50 Hand Signed and dated lower rig...

Shepard Fairey Screen-prints: collection of 60 works: 2009-2022: A rare assemblage of 60 hand-signed Shepard Fairey screen-prints; collected over a near 15 year period (2009-2022). Notable imagery includes: Bob Marley, Keith Haring, Ruth Bader Ginsburg, Kurt Cobain, as well as a series of vivid anti-war pieces defining the artist's practice (title list found further below). Each very well-preserved. Medium: Screen-prints on heavy paper. 2009-2022 (see below for a list of titles & years). Dimensions ranging from: 19.5 x 16 inches to 24x36 inches. Each work is hand-signed; works are either numbered from their respective main editions or notated 'AP' (see last listing image); a few or several works are signed, but not numbered. Excellent overall condition with the exception of perhaps some minor signs of handling on a few examples. Provenance: Private collection New York via Shepard Fairey. Listing images beginning with image 2 represent the actual works. These works will be shipped flat using protective materials. Please feel free to contact us with any additional questions. Titles & Years: OCEAN TODAY...

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...

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...

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....

Silkscreen screenprint with woodblock and silver leaf Hand signed and numbered. In vibrant color of blue and silver on heavy paper with an almost painting type texture to it. Josep...

EA Artists Proof aside from edtion of 150. Screenprint in colors on Wove Paper. Hand signed, numbered from the Artists Proof edition of 20 and dated '85 in pencil right side margin. Published by Martin Lawrence Limited Editions, Inc., New York...