Prints and Multiples

Victor Vasarely (French-Hungarian, 1906-1997) Untitled, 1974 Hand-signed in pencil Screenprint 27 3/8 x 26 3/8 in 69.5 x 67.0 cm Ed. 250

Victor Vasarely (French-Hungarian, 1906-1997) Untitled, 1974 Hand-signed in pencil Screenprint 27 3/8 x 26 3/8 in 69.5 x 67.0 cm Ed. 250

Hommage a Bach III. Original etching and aquatint, cca. 1980. Edition H.C. (horse commerce/exhibition copy). Victor Vasarely was a French painter of Hungarian origin. Influenced by B...

In good condition some minor scratches on the frame

Silksreen, 1973 Handsigned by the artist in pencil and numbered 66/200 Catalog : Benavides 206 76.00 cm. x 62.00 cm. 29.92 in. x 24.41 in. (paper) 53.00 cm. x 49.00 cm. 20.87 in. x...

Artist: Victor Vasarely, Hungarian (1908 - 1997) Title: Ter-Ur Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: From the edition of 250 Image Size: 24.5...

Untitled. Original color silkscreen, cca. 1980. Edition of 250 signed and numbered impressions on Arches paper. Victor Vasarely was a French painter of Hungarian origin. Influenced b...

Serigraph on paper. Hand signed and numbered by the artist. Image size 35.5 x 20 inches. Frame size approx 49 x 32 inches. From the edition of 250. Certificate of authenticity i...

Olkia-1 Color lithograph, 1962 Signed dated and numbered in lower margin Edition: 80 (32/80) Condition: Very good. White pigment appears to have been added along the border of the oval shape by the artist. Framed with matting in a metal section frame. Image: 20 x 17 3/4" Frame: 31 1/2 x 24" Reference: Benavides & Vasarely 529 Provenance: Martha Jackson Gallery, NY Anderson Gallery...

Serigraph in colors on wove paper. Hand signed and numbered by Victor Vasarely. From the edition of 250. Image size 23.25 x 30.25 inches. Sheet size 31 x 37.25 inches. Frame size approx 36 x 42 inches. Additional images available upon request. Certificate of authenticity included. Artwork in excellent condition. All reasonable offers will be considered. About the Artist: Victor Vasarely ((French/Hungarian, 1906–1997) was credited as the grandfather and leader of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. Born Győző Vásárhelyi on April 9, 1906 in Pécs, Hungary, he briefly studied medicine, but after two years he dedicated himself to learn academic painting. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard paintings...

Lithograph, 1984 Handsigned by the artist in pencil and numbered 124/125 Publisher : Graphos Verlag A.G. Printer : Silium (Paris) Catalog : Benavides 985 61.00 cm. x 47.00 cm. 24.02 in. x 18.5 in. (paper) 45.00 cm. x 35.00 cm. 17.72 in. x 13.78 in. (image) The French-Hungarian master of op art uses...

Untitled. Original color silkscreen, cca. 1980. Edition of 250 signed and numbered impressions on Arches paper. Victor Vasarely was a French painter of Hungarian origin. Influenced b...

Serigraph on paper. Hand signed and numbered by the artist. Sheet size 39 x 30 inches. Image size 24.25 x 24.25 inches. Custom framed as pictured. From the edition of 250. Additio...

Serigraph on paper.. Hand signed and numbered by the artist. Image size 25.75 x 16 inches. Sheet size 30.5 x 19.5 inches. Frame size approx 37 x 26 inches. From the main edition of...

Serigraph on paper. Hand signed and numbered by the artist. Image size 39.75 x 25.75 inches. Frame size approx 50 x 35 inches. From the main edition of 250. Additional images avai...

Hommage a Bach II. Original etching and aquatint, cca. 1980. Victor Vasarely was a French painter of Hungarian origin. Influenced by Bauhaus design principles, Kandinsky's and Malev...

TRIDIM Gris Screen print, 1986 Signed in pencil lower right (see photo) Edition: 200 (76/200) From: portfolio enetitled "35 ans apres" Printed at Atelier Arcay, Paris, France Publisher: Park West Gallery...

Artist: LeRoy Neiman (American, 1921-2012) Title: Casino Year: 1972 Medium: Silkscreen, signed and marked A P ( Artist Proof)  in pencil Edition: AP Paper  Size: 31¾  x 26 inches LeRoy Neiman was a sports artist, a chronicler of contemporary lifestyles and a creator of the action-subject. He is credited with reviving figure painting during the years of the abstract movement when the figure, and realism in general, were abandoned. Neiman paints with a technique that often starts with his own Impressionistic style and continues with a process that looks very similar to the action paintings of the Abstract Expressionists. Accident and chance seem to play significant roles in determining the final appearance of his creations. This is seen in Neimans spontaneous application of paint and color. He paints quickly to grasp moments in time. His works are held in the collections of both the Baseball...

One of America's most popular and successful artists with a take on the world's favorite city with "Cafe de la Paix." A prized serigraph of his, since not everyone loves sports art (...

A serigraph print by Leroy Neiman from 1987. A colorful impressionist view of a bustling garden dining area. Signed and framed in gold wooden frame. Artist: LeRoy Neiman, America...

Artist: Victor Vasarely, Hungarian, 1906-1997 Title: Tokyo Year: 1982 Medium: Color serigraph Edition: Numbered 180/250 in pencil Paper: Wove Image size: 25.5 x 25.5 inches Framed s...

Lattice is a contemporary artwork realized by Victor Vasarely (1906-1997) in 1978. Silkscreen in colors on wove paper. Hand signed on the lower right. Includes frame.

Victor Vasarely Majus II, 1974 is a screenprint on polyester on metal that is hand-signed by Victor Vasarely (Hungary, 1906 – France, 1997) in pen and ink the lower right margin and...

Victor Vasarely (1906-1997) Composition Screenprint in color Pencil signed lower right Edition 234/275 Image Size: 26"h x 26"w, Sheet (unframed): 31"h x 30"w Victor Vasarely...

Silksreen, 1989 Handsigned by the artist in pencil and numbered 54/70 Catalog : Benavides 1075 60.00 cm. x 58.00 cm. 23.62 in. x 22.83 in. (paper) 45.00 cm. x 45.00 cm. 17.72 in. x...

TECHNICAL INFORMATION: Victor Vasarely Kris-Bille, from Ion Album 1989 Screenprint 14 x 11 in. Epreuve D'Artist (E.A.) Pencil signed and numbered Accompanied with COA by Gregg Shie...

Tecoma is a wonderful colored lithograph with a black, blue, pink abstract composition realized by Victor Vasarely in 1972. The plate is from the portfolio Octal edited by Bruckmann...

Victor Vasarely (1906-1997) Kinetic Composition Bi-Hexa, 1975 Original Screen Print Handsigned in pencil Numbered / 300 On Arches vellum 76 x 56 cm (c. 30 x 22 in) REFERENCE : C...

Victor Vasarely (French-Hungarian, 1906-1997) Untitled, 1974 Hand-signed in pencil Screenprint 27 3/8 x 26 3/8 in 69.5 x 67.0 cm Ed. 250

Presenting an authentic edition work by the esteemed artist Victor Vasarely, renowned for his distinct artistic style and captivating visual language. This limited edition piece offe...

Colorful abstract expressionist lithograph celebrating the 1976 Olympics in Montreal Canada by American artist LeRoy Neiman. The work f...

Artist Victor Vasarely Title of the work Answers to Vasarely - Folkota edition Period 1974 Technique Silkscreen printing Signature Hand-signed Edit...

Victor Vasarely born in 1906 was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op Art movement. Op Art is a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Victor Vasarely and Brigit Riley are its most famous exponents. In its visual balancing act of color and movement from a flat plane to developed continuous flow “Untitled” is a complex arrangement of squares and colors that visually expand and contract. It is one of Vasarely’s most successful Op Art abstract works. The piece is signed on the lower right and number 20/150 on the lower left. The print is behind glass and matted. Vasarely was born in Pecs and grew up in Slovakia and Budapest, where in 1925, he took up medical studies. Abandoning medicine he turned to traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sandor Bortnyik’s private art school widely recognized as Budapest's centre of Bauhaus studies. His studies concentrated on applied graphic art and typographical design. In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other. Vasarely utilized geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard...

Silksreen Handsigned by the artist in pencil and 143/300 Catalog : Benavides 1168 58.00 cm. x 50.00 cm. 22.83 in. x 19.69 in. (paper) 40.00 cm. x 40.00 cm. 15.75 in. x 15.75 in. (i...

Created in 1990, this original color serigraph is hand signed by Victor Vasarely (Pécs, 1906 - Paris, 1997) in pencil in the lower right margin. Numbered 270/300, this piece was prin...

1973 Original poster made by Victor Vasarely for the exhibition Folklore Planétaire. Victor Vasarely was a Hungarian-French artist, who is widely accepted as a "grandfather" and lead...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

TECHNICAL INFORMATION: Victor Vasarely Composition Microcosmos IV 1980 Screenprint 13 x 10 in. Edition of 50 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fin...

This artwork titled "Prowling Leopard" 2003 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 64/425 in pencil by the artist. The image size is 26.5 x 35 inches, framed size is 40 x 48 inches. It is custom framed in a gold frame, with fabric matting and green/gold spacer. It is in excellent condition. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne...

Cosca II “VP 100” Screen print, 1982 Signed and numbered by the artist (see photo of signature) Edition: 325 plus 65 Vasarely Foundation (127/325) Editor: no editor/publisher is prov...

This artwork titled "Blomsterflicka" 1986 in an original screen print by renown Hungarian artist Victor Vasarely, 1906-1997. It is hand signed and numbered LI/CL in pencil by the art...

Artist: LeRoy Neiman, American (1921 - 2012) Title: The Rocket: Roger Clemens Year: 2003 Medium: Serigraph, signed and numbered in pencil Edition: 192/325 Image Size: 27.5 x 36 inche...

-- Artwork is signed and numbered by LeRoy Neiman -- Artwork comes with a certificate of authenticity -- Comes with a premium quality frame -- Limited Edition Serigraph, Edition 274/450

Victor Vasarely was a French-Hungarian artist credited as the grandfather and leader of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. Born Győző Vásárhelyi on April 9, 1906 in Pécs, Hungary, he briefly studied medicine, but after two years he dedicated himself to learn academic painting. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard paintings...

Victor Vasarely Cubic Relationship Medium: Serigraph on Arches Paper Year: 1982 Edition: 325 Image Size: 21.5 H x 19.125 W inches Visible Sheet Size: 23.5 H x 21.5 W inches Frame Size: 34.5 H x 31.5 W inches Signed and numbered by hand Framed COA provided ---------------------------------------- Victor Vasarely (French, 9 April 1906– 15 March 1997), was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op art movement. His work entitled Zebra, created in 1937, is considered by some to be one of the earliest examples of Op art. Vasarely was born in Pécs and grew up in Pöstyén (now Piešťany, Slovakia) and Budapest, where, in 1925, he took up medical studies at Eötvös Loránd University. In 1927, he abandoned medicine to learn traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sándor Bortnyik's private art school called Műhely (lit. "Workshop", in existence until 1938), then widely recognized as Budapest's centre of Bauhaus studies...

Serigraph on paper from Jalons portfolio. Hand signed and numbered by the artist. Image size 25.75 x 24.5 inches. Sheet size 33.25 x 29.75 inches. From the main edition of 250. Add...

Our M.C.-2 Screen print, 1970 Signed in pencil lower right Chop stamp: Denise Rene Editeur, on lower left margin From: Album Charities Edition: 300 (35/300) Catalog raisonne states e...

DOOR-MC Screen print, 1982 Signed and numbered in pencil Printed on Arches wove paper Published by Atelier Arcay, Paris Edition: 325 (47/325) Reference Benavides & Vasarely No. 894 C...

A serigraph by Leroy Neiman from 2000. A colorful scene of friends enjoying wine in a countryside landscape. Signed and framed in gold wood frame. Artist: LeRoy Neiman, American (1...

TECHNICAL INFORMATION: Victor Vasarely Composition Gold 1980 Screenprint 13 x 10 in. Edition of 50 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art. ...

Serigraph on paper.. Hand signed and numbered by the artist. Image size 25.75 x 16 inches. Sheet size 29.75 x 19.5 inches. Rare silver version. From the roman numeral edition of 15...

Garam is an amazing colored lithograph realized by Victor Vasarely in 1972. The plate is from the portfolio Octal, edited by Bruckmann Publisher, München, in 1972, and with text by ...

Classic Leroy Neiman poster of 'Royal Ascot' published June 4- June 26, 1976 by M. Knoedler & Co. Ltd. 143 New Bond Street, London Poster Sz: ...

TECHNICAL INFORMATION Victor Vasarely Untitled #4 (black w/ green square in center) c.1980 Screenprint 12 3/4 x 9 3/4 in. Edition of 50 F.V. Pencil signed & numbered Accompa...

Artist: Victor Vasarely, Hungarian, 1906-1997 Title: Procion Year: 1968 Medium: Color serigraph Edition: Numbered 140/300 in pencil Paper: Wove Image size: 22.25 x 22.25 inches Fram...

Silksreen, 1979 Handsigned by the artist in pencil and annoted EA Edition : 250 Publisher : Denise René (Paris) Catalog : Benavides 846 75.00 cm. x 75.00 cm. 29.53 in. x 29.53 in. (...

Serigraph on paper. Hand signed and numbered by the artist. From the edition of 250. Frame size approx 39 x 30 inches. Certificate of authenticity included. Artwork in excellent c...