Prints and Multiples

Lithograph, waxtype woodcut and screenprint on 638-g/m cold-pressed Saunders Waterford Paper. From the "Brushstroke Figures" series, 1989. Hand signed rf Lichtenstein, dated ('89) a...

Lithograph after a gouache decoupee from Verve 35/36

Offset lithograph printed in colours on wove paper 30 3/4 × 26 in 78.1 × 66 cm

ROY LICHTENSTEIN (1923-1997) This Lichtenstein 'Real Estate' print in blue is a 1969 lithograph on Arches paper. There was an edition of 100 produced (there were also approximately ...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "Chem 1A" *Signed and dated by Lichtenstein in pencil lower right Year: 1970 Medium: Original Screenprint on Special Arjomari paper Limited edition: 32/100. (There were also 10 artist's proofs) Printer: Gemini G.E.L., Los Angeles, CA Publisher: Gemini G.E.L., Los Angeles, CA Reference: "The Prints of Roy Lichtenstein: A Catalogue Raisonne 1948-1997" - Corlett No. 100, page 117; Gemini No. 248 Framing: Recently framed in a contemporary white maple moulding with double matting and Artglass AR 92 non-reflective 92% UV protection glass. All archival Framed size: 36.38" x 26.63" Sheet size: 30.13" x 20" Image size: 24" x 14.25" Condition: In excellent condition Very rare Notes: Provenance: private collection - Newport Beach, CA. Numbered by Lichtenstein in pencil lower left. This work is related to Lichtenstein's 1970 "Peace Through Chemistry...

Artist: Henri Matisse (French, 1869-1954) Title: "Figure allongée devant un carrelage (Figure Lying in front of a Tiled Floor)" *Signed and numbered by Matisse in pencil lower right ...

Modern Head #5 1970 Embossed graphite with Strathmore die-cut paper overlay, mounted in white lacquered aluminum frame with wooden stretcher support Signed, dated, and numbered in pe...

Litho/Litho Lithograph on Special Arjomari paper Signed, dated, and numbered in pencil Corlett 101

Roy Lichtenstein 1970-1980 (Hand Signed and dated by Roy Lichtenstein), 1981 Offset lithograph. Hand signed and dated in ink Hand-signed by artist, Hand signed and dated in ink on th...

Roy Lichtenstein "Go for Baroque" poster (hand signed and inscribed by Roy Lichtenstein), 1994 Color offset lithograph on wove paper (hand signed and inscribed to Lichtenstein's esta...

A very good impression of this early color offset lithograph. Signed in pencil by Lichtenstein. Printed by Colorcraft, New York. Published by Leo Castelli Gallery, New York. Catalo...

Artist: Roy Lichtenstein Title: Reflections on Hair Portfolio: Reflections Medium: Lithograph, screenprint, relief and metalized PVC collage with embossing on mold-made Somerset pape...

Serigraph in colours, 1997, on 300 gram Somerset textured paper, signed and dated in pencil, numbered from the edition of 75 (there were also 15 artist’s proofs), printed by Noblet S...

Signed on the plate by Matisse. From the portfolio ‘Dernières Oeuvres de Matisse 1950-1954’, known as Verve Vol. IX No. 35 & 36. Printed by Mourlot in Paris. Henri Matisse oversaw ...

Lithograph and screenprint in colors on Rives BFK paper. Hand signed and dated by Roy Lichtenstein. Numbered 46/100 (there were also 10 artist's proofs). Published by Multiples, I...

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...

Roy Lichtenstein As I Opened Fire Triptych (Corlett App.5), 1966 Set of three (3) Color Offset Lithographs on wove paper. Museum stamped verso. Unframed Museum stamped verso., not si...

Henri Matisse Algue Blanche sur fond Viole, 1960 Original Lithograph unknown edition size not signed 59.4 x 42.9 cm 71 x 51 cm (framed)

Artist: Henri Matisse Title: Plate 15: Un Meuglement Different des Autres (A Moo Different from Others) Portfolio: Pasiphae Medium: Linocut on Arches vellum Year: 1944 Edition: 200 S...

Roy Lichtenstein As I Opened Fire (Triptych), 1964 3 x individual Offset lithographs each is 62.9 × 52.7 cm
 Roy Lichtenstein, a key figure in the Pop Art m...

Henri Matisse - Nu Bleu I 4-color print on acid-free age-resistant 270g Rives Paper Sheet Size: 80 x 60cm Image Size: 53 x 72.5cm

Henri Matisse (1869-1954) French Still Life with Goldfish I Singed "Monotype / Henri Matisse" Monotype on paper (chine collé) This exceptional work of art encapsulates the genius...

Original Edition Lithograph on English cartridge paper. Edition: 3,000. Inscription: Signed in the plate and unnumbered. Excellent Condition; never framed or matted. Notes: Published...

Henri MATISSE Teeny Original linocut Printed signature in the plate On light wove paper 31 x 24 cm (c. 12.5 x 10 in) REFRENCES : Catalogue raisonne Duthuit #723 From the unsigned, ...

Henri Matisse Visage À La Frange, 1913 lithograph on japon paper Edition: 34/50 Hand signed with initials and numbered below the image Image size 49.0 x 32.5 cm Frame size 70.0 x 5...

Roy Lichtenstein The Oval Office (hand signed, dated and inscribed by Roy Lichtenstein), 1992 Offset color lithograph (hand signed and inscribed to famous estate attorney) Edition of...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "As I Opened Fire Poster (Triptych) (First Edition)" Year: 1966 Medium: The Complete Set (Triptych) of Three Offset-Lithograph, Posters on white wove paper This is one of the few signed sets from the 1966 edition of approximately 3,140 printed by Drukkerij Luii & Co. and published by the Stedelijk Museum., not to be confused with one of the 6+ subsequent reprints up to and even after the artist's death in 1997) Reference: "The Prints of Roy Lichtenstein: A Catalogue RaisonnE 1948-1997" - Corlett App. 5, page 324; "Lichtenstein Posters" - DAring/Osten No. 14, page 114 Overall size (triptych of all three prints): 25.25" x 62.82" Sheet size (each): 25.25" x 20.94" Image size (each): approx. 24.07" x 19.69" The Triptych set, comes framed floating on Black mat and framed with white Moulding. In excellent condition The work is hand-pencil signed in pencil by Lichtenstein in the lower right margin of the third print. Each panel has the correct printed inscription on the verso "edition and color correction / Stedelijk Museum, Amsterdam / [copyright symbol] R. Lichtenstein 1964...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

Roy Lichtenstein Roy Lichtenstein at Modern Art Pavilion, Seattle Art Museum Limited Edition poster, 1976 Offset lithograph Limited Edition of 1500 22 1/2 × 28 inches Unframed This ...

Published by Rosenthal, Germany in 1990, this exquisite glazed porcelain plate is from an image created by Roy Lichtenstein. The brilliantly colored plate, accompanied by its origin...

Henri MATISSE Underwater life, 1954 Original lithograph Printed signature in the plate On light wove paper 31 x 24 cm (c. 12.5 x 10 in) REFRENCES : Published by San Lazzaro / XXèm...

Mirror #7, 1972 Roy Lichtenstein Lithograph with screenprint in colours, on Special Arjomari paper Signed, dated and inscribed 'A/P VIII' An artist's proof aside from the edition of...

This print features a reproduction of The Open Window Collioure (1905) by Henri Matisse, the world-reknowned French artist. It’s mounted and laminated for protection from dust and UV...

Roy Lichtenstein Fish and Sky 1967 23 3/4 x 20 in. Artist's Proof from the rare limited edition Original serigraph on gelatin photographic print mounted on three-dimensional len...

Artist: Roy Lichtenstein Title: Spray Can Portfolio: 1¢ Life Medium: Lithograph on white wove paper Year: 1963 Edition: 2000 Frame Size: 21 1/4" x 19 1/4" Sheet Size: 16" x 11 1/2" I...

Art Print on heavy paper

Vintage Poster Exhibition in Florence is a very colorful artwork realized by Roy Lichtenstein in 1982. Mixed colored offset  on paper. This beautiful print was realized on the occa...

An image of simplicity and grace, Nu au Bracelet was created by Henri Matisse in 1940 as an original linocut measuring 12 5/8 x 9 5/8 inches (32 x 24.4 ...

Original lithograph poster for the Matisse exhibition at the Galerie Jacques Benador, Geneva 1980. The center of the composition features an image of a drawing by Henri Matisse of a ...

Artist: Roy Lichtenstein Title: Girl Portfolio: 1¢ Life Medium: Lithograph on white wove paper Date: 1963 Edition: 2000 Frame Size: 20 3/4" x 18 5/8" Sheet Size: 16 1/4" x 11 1/2" Im...

Interior with Chair from the Leo Castelli 90th Birthday Portfolio is a serigraph on paper, 27 x 20.5 inches image size, signed and dated 'rf Lichtenstein '97' lower right and numbere...

SALE ONE WEEK ONLY "As I opened fire" is a lithograph triptych by Roy Lichtenstein whose provenance is printed on verso: Coll. Stedelijk Museum Amsterdam. Editions were copyrighted by the Stedelijk Museum Amsterdam and corrected with the original and printed in the Netherlands. Each piece measures: 25 1/8" h x 20 5/8" w. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching atRutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Twin Mirrors (C.102) is a screenprint on paper created for the Guggenheim Museum in 1970, 35 x 21 inches image size, signed and dated 'rf Lichtenstein '70' lower right and numbered 94/250 lower left (from the edition of 250 plus an unknown number of artist proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.118, #102. About Lichtenstein’s Mirror...

Mirror #9 (C.114) from the Mirror Series is a screenprint and lithograph on paper, 30 x 21.18 inches, signed and dated 'rf Lichtenstein '72' lower center margin and framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.126, #114. About Lichtenstein’s Mirror Series (taken from Corlett): Mirrors were an important subject in Lichtenstein’s paintings and prints of the early 1970s. From late 1969 to 1972 he painted over forty canvases depicting this subject. The first print was in 1970, with Twin Mirrors (cat. no.102) for the Guggenheim Museum. In 1972 he also produced Mirror (cat. No. 115) at Styria Studio, in addition to this Gemini G.E.L. series of nine prints. In the mid-seventies he took up the subject in sculpture, and he returned to it in prints as recently 1990, with Mirror (cat. No 246). In addition, he has often explored the related theme of reflections, incorporating them in various paintings and in several print series: Reflections (1990; cat. Nos. 239 – 245), Interiors (1990, published 1991; cat. nos. 247 – 54), and Water Lilies (1992; cat. nos. 261 – 66). This Gemini group (catalog nos. 1-6 - 114) utilizes lithography, screenprint, line-cut, and embossing... In an interview with Lawrence Alloway, Lichtenstein noted: “You know, I am always impressed by how artificial things look – like descriptions of office furniture in newspapers. It is the most dry kind of drawing, as in the Mirrors. They really only look like mirrors if someone tells you they do. Only once you know that, they may be moved as far as possible from realism, but you want it to be taken for realism. It becomes as stylized as you can get away with, in an ordinary sense, not stylish.” As Jack Cowart has commented: “One would not actually stand in front of a Lichtenstein Mirror...

Mirror #7 (C.112) is a screenprint and lithograph on paper, 29.75 x 17.37 inches, signed and dated 'rf Lichtenstein '72' lower right and numbered 62/80 lower left. From the edition of 96 (there were also 10 AP, and 6 other various proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.125, #112. About Lichtenstein’s Mirror...

Henri Matisse: Colour Lithographs after the Cut-Outs, Framed Print, 1958 In 1941 Matisse underwent abdominal surgery after which he found painting to be physically taxing. Increasi...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...

Original vintage exhibition poster: HENRI MATISSE EXHIBITION. Linen baked in excellent condition, ready to frame. The background is a flat...

From Interior Series. Woodcut and screen print in colors on Museum Board. Hand signed, dated and numbered by Roy Lichtenstein. Published by Gemini G.E.L., Los Angeles.. Corlett 247...

This original woodcut in colours is hand signed in pencil "R. Lichtenstein" at the lower right margin. It is dated ‘80’ [1980] next to the signature. It is also numbered in pencil from the edition of 50, at the lower right margin. There were also 18 artist’s proofs aside from the standard edition. The subject was printed and published by Tyler Graphics Ltd., Bedford, New York in 1980. The paper bears the blindstamp of the printer and publisher. This is the sixth composition of six comprising the ‘American Indian Theme...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Offset Lithograph on Parsons Diploma Parchment Paper. Pencil...

Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the collection of Jack Martin...

Medium: original etching. Printed in 1946 at the atelier Lacouriere on BFK Rives paper and published in a limited edition of 300 for the "Alternance" portfolio (a collective art and ...

Roy Lichtenstein at CSU, rarely seen exhibition catalogue, 1982 Softback exhibition catalogue with 2 very cool vellum pages with the Benday dots 11 × 8 1/2 inches This softcover cata...

Medium: original woodcut. Printed in 1947 in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maeght. Image size: 8 1/4 x 6 1...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

This print features a reproduction of La Gerbe (1953), by Henri Matisse, an artist whose work is renowned globally. It's mounted and laminated for protection from dust and UV rays, ...

Lithograph in colours based on the cut-out of the same title, 1952 From 'Verve' Magazine Volume IX, Nos 35 & 36: 'Dernières Oeuvres de Matisse 1950-54' Pr...