Robert Indiana

Jenny Reefer, from the suite, The Mother Of All Us.

1977

This artwork titled ' Allied Chemical Tower, Packed, Project for Number 1 Time Square, New York" 1971, in an original color lithograph on Arjomari paper by renown Bulgarian/American ...

Artist: Robert Indiana (American, born 1928) Title: Gloster Heming, Vote For Women Year: 1977 Medium: Color lithograph Edition: Numbered 67/150 in penci...

This artwork titled "Fly" 1981 is an original color lithograph on Arches paper by renown American artist James Rosenquist, 1933-2017. It is hand signed, dated, titled and numbered P....

This artwork titled "Why Can't You Tell" from the suite "Nine Prints" is an original screen print with offset lithograph and fabric collage on B.F.K. Rives paper by American artist ...

This artwork titled "SWing Screen" 1979 is an original colors etching with aquatint on Pescia Italia paper by renown American artist James Rosenquist, 1933-2017. It is hand signed, d...

This impressive 12 color screenprint is by Darryl Pottorf (1952- ) The print is titled “Truck Stop de Marra Kech”. It was printed and published in 2000 by Gemini G.E.L. the well-kno...

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...

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...

Robert Rauschenberg Score, 1970 Lithograph 26 x 19 1/2 inches Edition 51 of 75 Signed This print belongs to Rauschenberg’s “Stoned Moon” seri...

Lithograph on Black Fabriano paper. Signed by the artist and dated 1970 lower right in pencil; numbered 59/68 lower left in pencil. This electric blue image of a neon sculpture was d...

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...