Len Gittleman

Lunar Landscape Abstract Signed Numbered Screenprint Orange

1972

Handsigned edition of 250. Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission ...

Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission to the moon in 1971. Gittle...

1976 hand pencil signed limited edition (AP XVII) on BFK Rives paper. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery, Los Angeles Galerie Ricke, Kassel, Germany, Obelisk Gallery, Boston, Minami Gallery, Tokyo, Württembergischer Kunstverein, Stuttgart, Germany Lambert Gallery, Paris Albright-Knox Art Gallery, Buffalo, Museum of Contemporary Art, Chicago, Marlborough GalleryPatricia Moore Gallery, Aspen, Colorado Hokin Gallery, Chicago Grace Borgenicht Gallery, Retrospettiva, Palazzina dei Giardini, Modena, Italy Mitchell Innes & Nash, Beyond Pop: Allan D'Arcangelo, Hollis Taggart Galleries, Garth Greenan Gallery, New York, Pi in the Sky, Waddington Custot, London, UK, Select Group Exhibitions Allan D'Arcangelo: Bilder und John Chamberlain: Plastiken, Galerie Rudolf Zwirner, Arakawa, Allan D'Arcangelo, Mark di Suervo, Robert Grosvenor, Anthony Magar, Neil Williams, Dwan Gallery, Los Angeles, American Painting Now, ACA Gallery, Boston Contemporary Drawings, New York University Pop Art Americana: D'Arcangelo, Jim Dine, Kelly, Lichtenstein, Claes Oldenburg, Phillips, Mel Ramos, James Rosenquist, George Segal, Warhol, John Wesley, Tom Wesselman, Galleria De' Foscherari, Bologna, Italy Frank O'Hara / In Memory of My Feelings, Museum of Modern Art, New York, Annual Exhibition of Contemporary American Painting Whitney Museum of American Art Beyond Literalism: An Exhibition of Painting and Sculpture by Allan D'Arcangelo, Charles Fahlen, Jack Krueger, Naoto Nakagawa...

1976 hand pencil signed limited edition (AP XVII) on BFK Rives paper. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery, Los Angeles Galerie Ricke, Kassel, Germany, Obelisk Gallery, Boston, Minami Gallery, Tokyo, Württembergischer Kunstverein, Stuttgart, Germany Lambert Gallery, Paris Albright-Knox Art Gallery, Buffalo, Museum of Contemporary Art, Chicago, Marlborough GalleryPatricia Moore Gallery, Aspen, Colorado Hokin Gallery, Chicago Grace Borgenicht Gallery, Retrospettiva, Palazzina dei Giardini, Modena, Italy Mitchell Innes & Nash, Beyond Pop: Allan D'Arcangelo, Hollis Taggart Galleries, Garth Greenan Gallery, New York, Pi in the Sky, Waddington Custot, London, UK, Select Group Exhibitions Allan D'Arcangelo: Bilder und John Chamberlain: Plastiken, Galerie Rudolf Zwirner, Arakawa, Allan D'Arcangelo, Mark di Suervo, Robert Grosvenor, Anthony Magar, Neil Williams, Dwan Gallery, Los Angeles, American Painting Now, ACA Gallery, Boston Contemporary Drawings, New York University Pop Art Americana: D'Arcangelo, Jim Dine, Kelly, Lichtenstein, Claes Oldenburg, Phillips, Mel Ramos, James Rosenquist, George Segal, Warhol, John Wesley, Tom Wesselman, Galleria De' Foscherari, Bologna, Italy Frank O'Hara / In Memory of My Feelings, Museum of Modern Art, New York, Annual Exhibition of Contemporary American Painting Whitney Museum of American Art Beyond Literalism: An Exhibition of Painting and Sculpture by Allan D'Arcangelo, Charles Fahlen, Jack Krueger, Naoto Nakagawa...

Handsigned edition of 250. Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission ...

Vintage gallery exhibition poster. Navy blue and bold yellow stars with vibrant orange. Surrealist man in hat with scythe or fishing rod. The Galerie Maeght is a gallery of modern ar...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Edition of 150 pencil signed and dated on the front Published by the Paris Review, Print...

Roy Lichtenstein Moonscape Silkscreen from Banner, 1969 Silkscreen on fold out card. WIth additional (removable) sleeve with greeting and text from the Roy Lichtenstein Foundation 9 ...

Printed in glossy purple, lavender, and bright yellow, I'll take my life monotonous by Patrick Caulfield depicts a lattice outlined in black, with three small dots of yellow. A garden lattice...

Screenprint on paper. Hand signed and numbered by the artist. Edition 19/30 (there were also ten artist’s proofs). From the portfolio Master American Contemporaries, Inaugural Prin...

Paula Scher China, 2013 Hand pulled silkscreen on deluxe Lanaquarelle paper 24 3/5 × 28 1/5 inches Edition of 95 Pencil signed and numbered on the front Unframed Renowned graphic designer and artist Paula Scher's silkscreen China, from her map series...

Artist: Allan D'Arcangelo (American, 1930-1998) Title: Yield Year: 1968 Medium: Silkscreen, signed and numbered in pencil Edition: 141/144 Size: 30 x 19.25 in. (76.2 x 48.9 cm)