Sam Francis

Sam Francis lithograph (Sam Francis one cent life)

1964

Keith Haring crack down! 1986: Vintage original 1986 Keith Haring illustrated Crack Down! benefit program. This folding pamphlet was designed & illustrated by Keith Haring (along with a poster of same), for the 1986 "Crackdown on Crack" concert at New York City’s world...

Keith Haring Paris, 1987: Well-suited for framing, this vibrant oversized illustrated bag was designed by Keith Haring during his lifetime for the P...

Keith Haring New Music Distribution Service 1986: 1980s music distribution catalog featuring original cover art by Keith Haring. Features Haring pri...

Alexander Calder Lithograph c. 1966: Lithograph in colors; 11 x 15 inches. Very good overall vintage condition. Unsigned from an edition of unknown. From: Derrière le miroir Publish...

Jean-Michel Basquiat Test Pattern 1979: Basquiat created this flyer on the occasion of a performance by his band, Test Pattern (later renamed to ...

1970s Alexander Calder Lithograph from Derriere le Miroir: Medium: Lithograph in colors. 1975. Dimensions: 15 x 22 inches. Center fold-line as issued; v...

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...