David Salle

The Lemon Twig, Framed Lithograph by David Salle

2002

Bird Michael Knigin, American (1942–2011) Date: 1971 Screenprint, signed and numbered in pencil Edition of 9/100 Image: 28.5 x 17 inches Size: 30.5 x 23 inches

The Search Michael Knigin, American (1942–2011) Date: 2002 Screenprint, signed and numbered in pencil Edition of 14/90 Image: 22 x 16 inches Size: 30 x 22 in. (76.2 x 55.88 cm)

Artist: Kenny Scharf, American (1958 - ) Title: News Now - United Nations Year: 1991 Medium: Lithograph on Essex Rag paper, signed and numbered in penci...

Artist: Jim Dine Title: ART Year: 1968 Medium: Lithograph, signed and numbered in pencil Edition: 92/144 Paper Size: 35 x 24.75 in. (88.9 x 62.87 cm)

Artist: James Rosenquist Title: Israel Flag at the Speed of Light Year: 2006 Medium: Lithograph, Signed and numbered in Pencil Edition: 50 Size: 33.5 x 22 ...

Artist: Jasper Johns, American (1930 - ) Title: 0-9, Number 2 Year: 1963 Medium: Lithograph, signed in pencil Size: 13 in. x 9.75 in. (33.02 cm x 24.77 cm...

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

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

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

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

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

Study for Sculpture in the Form of an Inverted Q: Above and Below Ground, 1975 Lithograph, soft-ground etching, and aquatint in six colors on cream, thick, slightly textured Rive BFK paper 14 × 11 in. / 35.2 × 28 cm Signed and dated in pencil, lower right, numbered in pencil, lower left. Edition of 100 with 20 AP. Printed by Bill Law, Winston Roeth and Allan Uglow at Petersburg Press...