Richard Pettibone

Richard Pettibone The Appropriation Warhol, Stella, Lichtenstein, Unique Signed

1970

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Allan D'Arcangelo Paris Review, 1964-5 Silkscreen 32 × 26 inches Signed and numbered from the limited Edition of 150 pencil signed, numbered and dated on the front Unframed Published by the Paris Review, Printed by Steven Poleskie at Chiron Press, New York Allan D'Arcangelo created this work in 1964 as a benefit print for the eponymous Paris Review magazine which invited some of the most famous artists of the era to contribute. Over the next decade, D'Arcangelo would continue to receive significant recognition in the art world - exhibiting at Fischbach and then Marlborough Galleries in Manhattan. He was well known for his paintings of the iconic American highway, along with his depictions of desolate, industrial landscapes. In her essay "Ghost on the Highway: Allan D'arcangelo's Haunting Americana", Alice Bucknell writes, "A born-and-bred New Yorker, D’Arcangelo spent his due time trawling through the Bible Belt of the Deep South and the dizzying expanse of the Southwest desert as well as the more expected outposts of New York and L.A. Taking a particular favor to the way acrylic interacts with light — how it avoids the glistening sheen of oil, and how the flatness of the medium masks the presence of the artist’s hand — D’Arcangelo teases out complex ideas of the highway’s reality and representation, its rampant commercialization and maddening isolation, as well as escapism and entrapment as two split personalities of American infrastructure space through his signature flattening one-point perspective. “My most profound experiences of landscape were looking through the windshield,” D’Arcangelo explained to Marco Livingstone in the spring of 1988 while the two drove from New York City to the artist’s studio in upstate New York: an idiosyncratic interview included in the exhibition catalogue. “The sky, the tree line and the pavement all have the same quality, and it has to do with our separation from the natural world.” Far from the sugar...

Larry Rivers The Last Civil War Veteran, 1970 Silkscreen and mixed media collage on paper 29 × 19 3/4 inches Hand signed and numbered 55/100 in graphite pencil lower front Provenance...

R.B. Kitaj POGANY, 1966 17 colour Screenprint and Photo-screenprint 24 × 36 inches Pencil signed and numbered from the Limited Edition of 70 Hand-signed by artist, Signed & numbered ...

A very good impression of this scarce, early color lithograph with additions in pencil and crayon on Auvergne à la main (Richard de bas) ivory laid paper. Signed, dated and numbered 15/45 in pencil, lower margin. Printed by Robert Blackburn...

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...

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...

A stunning example of abstracted imagery easily identifiable as the work of Roy Lichtenstein, Blue Face was created by the artist in 1989 as a truly mixed me...