Sigmar Polke

Sigmar Polke - S. schmeckt Pfirsich von H., 1996, Lithograph, Signed Print

1996

Gudmundur Gudmundsson, aka Erró (Icelandic, b. 1932) Vermeer, 2005 Medium: Lithograph on paper Dimensions: 58.4 × 80 cm Edition of 180: Hand-signed and numbered in pencil Condition: ...

Sigmar Polke (German, 1941-2010) S. schmeckt Pfirsich von H. (S. Tastes Peach from H.), 1996 Medium: Grano-lithograph in colours with embossing, on Bütten board Dimensions: 59.1 × 77...

John Baldessari (American, born 1931) Two Bags and Envelope Holder, 2011 Medium: Archival inkjet print Dimensions: 61 x 45.8 cm Edition of 40: Hand-signed and numbered Condition: Exc...

Tom Sachs (American, b. 1966) Too Darn Hot, 2022 Medium: 13-colour silkscreen print with semi-gloss varnish, printed on 600gsm Somerset Tub Sized Satin paper Dimensions: 77.5 x 60.9 ...

Sigmar Polke (German, 1941-2010) Untitled (Spazierstock), 1985 Medium: Offset lithograph in colours, on paper Dimensions: 19 7/10 × 27 3/5 in (50 × 70 cm) Edition of 120: Hand-signed...

Sigmar Polke Oelbild (Näherin), 1967 Medium: Offset lithograph on card stock Dimensions: 9 3/10 × 9 3/10 in 23.5 × 23.5 cm Edition of 500: Not signed (as issued) Condition: Excellent

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...

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...

A very good impression of this color offset lithograph on white, thick, smooth Louvain Supreme Vellum Bristol 150-pound paper. Signed and numbered 190/300 in pencil. Printed by Color...

A very good impression of this color lithograph. Signed and numbered 125/175 in pencil, lower margin.

A very good impression of this color lithograph on Italia handmade paper. Signed, titled, dated and numbered 35/41 in pencil by Rosenquist. Printed and published by ULAE, West Islip,...

A very good impression of this early color offset lithograph. Signed in pencil by Lichtenstein. Printed by Colorcraft, New York. Published by Leo Castelli Gallery, New York. Catalo...