Pop Art Abstract Prints

Hand signed, dated and numbered by the artist. Lithograph in colors on Special Arjomari with the Gemini G.E.L. blindstamps, Los Angeles. Sheet size 35 x 48 in. Image size 28.25 x 43....

This work is a study for Inverted Q, a large sculpture that Oldenburg created after producing many sketches and small models. At the time he was experimenting with concepts of monume...

Billy Al Bengston LA 1984 (with official COA from Olympic Committee), 1982 Offset Lithograph and lithograph on Parson's Diploma paper (hand signed), with COA from Olympic Committee &...

Ed Ruscha Paintings (Hand signed by Ed Ruscha), 2014 Offset lithograph poster (Hand signed on the front) Published by Gagosian Gallery, Rome 26 × 27...

IVAN CHERMAYEFF Perestroika/Glasnost (Aka Gorby's Head), 1991 Silkscreen on wove paper Hand signed in pencil by Ivan Chermayeff. One of only a handful of known signed copies. Unframe...

Robert Indiana HOPE, 2008 Oil silkscreen in colors on watermarked Coventry archival paper 25 × 19 inches Edition 138/200 Signed, dated and number...

Manufacturer Obey Giant Edition Details Year: 2021 Class: Art Print Status: Official Released: 03/30/21 Run: 387/400 Technique: Screen Print Paper: Cream Specketone Size: 18 X 18 Ma...

Coin Noir by James Rosenquist, American (1933–2017) Date: 1977 10 Color Lithograph on Arches, signed, numbered and titled in pencil Edition of 75/100 Image S...

Lithograph on white Rives BFK paper Proofs: 10AP, 1BAT, 2CTP, 2PP, 4 publisher's proofs, 1 shop proof, 5TP Inscriptions: Signed and dated in pencil lower right, "Ed Ruscha 91", numbe...

Peter Blake A Walk in the Tuileries Gardens, 2004 26 colour Screenprint with Silver leaf and 3 Glazes Hand signed and numbered 28/200 by artist on lower front 30 1/5 × 22 1/2 inches The work is matted on board and unframed as it had been removed from its original frame. Measurements: Board: 30 1/8 x 22 1/2 inches Sheet: 24 x 20 inches Unframed A Walk Through the Tuileries Gardens is based on a memory of a stroll in Paris distilled through the ephemera he found along the way. ' The legendary Peter Blake, the father of British Pop Art, is renowned for his love of gathering and collecting the ephemera of life, of memories, of dreams and whimsies, sometimes mingled with those of other historical fantasists. Possessions he regards as symbolic of his relationships with his world, carefully questioning the personal significance of each object in this respect. The scraps of tickets, fragments of plastic, driftwood, pebbles and sycamore leaf in A Walk Through the Tuileries gardens are evocative and ephemeral souvenirs, gathered at the time and collated later perhaps with a whiff of romance. His image takes us, in turn, on a stroll down the wide gravel, under the autumnal trees, a lingering taste of saucisson and red wine on our palate and with a sudden impulse to take a turn on the Caroussel. This whimsical Peter Blake print would make a great gift for any Blake fan. Legendary British Pop Art pioneer British Blake was born in 1932, and after his formal training at the Gravesend School of Art, then at the Royal Academy of Art, he broke away from tradition, producing work from 1960 on that would come to define the British Pop Art Movement. He came to be known as the Grandfather of Pop Art, and his art achieved iconic status with his sleeve for The Beatles’ Sgt Pepper’s Lonely Hearts Club Band. Blake’s art draws on imagery from the popular culture of the past and present, as well as from the canon of fine art, thus creating an alternative, more democratic visual aesthetic. He freely mixes the ‘high’ with the ‘low’, ultimately inviting us to see beyond such distinctions. Always playful, and at times irreverent, he sets up the most unlikely juxtapositions across time and space, creating conversations and ‘parties’ to which all are invited. An abiding theme is an investigation, and celebration, of England and Englishness. Collage has always been a hallmark of Blake’s work, allowing him to freely mix found objects and images of people and other artworks; screenprinting, with its use of stencils and layers, lends itself perfectly to this technique, and indeed it was Pop Art that fully realised the potential of screenprinting as a medium for complex replication. More about Peter Blake: Sir Peter Thomas Blake...

Artist: Mimmo Rotella, Italian (1918 - 2006) Title: Pepsi Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 300 Size: 23 in. x 30 in. (58.42 cm x 76.2 cm)

Milton Glaser Newport Jazz Festival at The Russian Tea Room: The Russian Tea Room is an iconic restaurant in NYC located next to New York's Carne...

Robert Indiana An Honest Man Has Been President: Homage to Jimmy Carter (Sheehan, 112), 1980 Color silkscreen on off white wove paper 23 1/2 × 19 3/5 inches Pencil signed and numbere...

Jasper Johns Jasper Johns Drawings (Hand signed and inscribed to Michael Crichton's brother), 1980-1981 Color offset Lithograph poster for Margo Leavin Gallery exhibition Signed, dated and dedicated in ink by Jasper Johns on the front Vintage metal frame included Jasper Johns’s first truly abstract artworks are his “Crosshatch” paintings and prints, which he developed from 1972 to 1983. These compositions feature hatched lines in various colors, though the term “Crosshatch” is a bit of a misnomer—Johns’s lines...

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...

Christo at Leo Castelli Gallery New York (Hand Signed), 1966 Extremely rare Offset Lithograph Poster announcement Boldly hand signed by Christo in blue marker on the lower left front. Addressed to the influential (legendary) art critic Pierre Restany...

Agent X MADONNA (TRUE BLUE) Limited Edition Giclee Print Edition of 50 Paper Size: 101 cm x 101 cm x 1cm Sold Unframed Free Shipping Please note that in situ images are purely an indication of how a piece may look. Pop Art for the twenty-first century, ‘Madonna (True Blue)’ depicts the illustrious singer in all her 80s glory – red lips and thick eyebrows; iconic crucifix necklace...

Artist: James Rosenquist (1933-2017) Title: Star Leg (2nd state) Year: 1979 Medium: 1 color etching Edition: 78, plus proofs Sheet Size: 22.75 x 40 inches Plate size: 17.75 x 35.5 in...

Tom Wesselmann Bedroom painting #7 (detail), 1976 Offset lithograph poster 32 × 22 inches Unsigned, Unframed Limited Edition of 500 (unnumbered) Rarely seen on the market place Offs...

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 191, 1971....

TWO FLOATING is an original hand drawn lithograph by the renowned American Pop artist, Peter Max, printed in 1991 in an edition of 165, using traditional hand lithography techniques on archival Somerset paper, 100% acid free. TWO FLOATING is a dreamy, New Age style, upbeat abstract composition portraying a colorful, dandy man dressed in a blue striped jacket with yellow sleeves exiting from the left as a group of floating red, yellow, and light blue balloon shapes suspended in the air against a background of warm rosy pink; a white and yellow sphere resting on the ground. TWO FLOATING is an airy, transcendental, happy colored fantasy moment! Print size - 28 x 22 inches. unframed, very good condition, hand signed by Peter Max Image size - 23.5 x 19 inches Edition size - 165 Year published - 1980 Printer - JK Fine Art Editions Co. NY About the artist - German/American artist: b. 1937, Peter Max spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. Peter Max's family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. Peter Max began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Peter Max, recognised throughout the world and a well-known name in America, is famous for his new age style, cosmic imagery and multi-colored blends. During the late 1960's and early 70's, Peter Max's colorful award winning art reached millions of people. Peter Max's paintings, drawings, sculpture and limited edition graphics have been exhibited in major museums throughout the world. American icons, especially the Statue of Liberty, appear repeatedly in his art repertoire. Returning to the public art scene in the ‘80s...

Richard Pettibone Andy Warhol Cow Wallpaper Silkscreen on paper 26 1/2 × 20 3/4 inches Hand Signed and dated in graphite on the front Unframed Accompanied b...

Colorful, cartoonish faces and imagined creatures populate Kenny Scharf's fantastical murals, paintings, sculptures, and installations.

Ed Ruscha Documenta 5 (Engberg 66), 1972 Color silkscreen on wove paper Pencil signed and numbered from the limited edition of 150 on the front; the artist's copyright ink stamp and ...

This whimsical screenprint by Eduardo Paolozzi pictures giant inkwells being carried on old style train cars. The composition looks like a printed image blown up to reveal the halfto...

Medium: original serigraph / silkscreen. In 1964 Samuel Wagstaff, Jr. (at that time Curator of Paintings at the Wadsworth Atheneum in Hartfordford, Connecticut) selected ten importan...

Vintage gallery exhibition poster. Bright vivid red and bold yellow. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was...

Walasse Ting 丁雄泉 Chinese Moonlight (signed, dated and inscribed by Walasse Ting), 1967 Illustrated Softback monograph with four original double-page litho...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

Artist: Robert Indiana (1928-2018) Title: Indiana in Lewiston Year: 1991 Medium: Silkscreen on wove paper Edition: 150, plus proofs Size: 46.5 x 26.75 inches Condition: Excellent Ins...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "House Job" *Signed and dated by Yamazaki in pencil lower right Year: 1984 Medium: Original Monotype on Arches paper L...

Tracey Emin Beautiful Girl II, 2011 Etching, with chine-collé on 300 GSM Somerset paper, with full margins Signed and numbered 52/100 on the front in graphite pencil; also titled by ...

Walasse Ting 丁雄泉 Untitled, (Limited Edition, hand signed Carnegie Museum Trustee Edition), 1972 Abstract Expressionist Lithograph. Hand signed and numbered. Hand signed and numbered...

Jim Dine Complete Graphics poster (hand signed by Jim Dine), 1970 Offset lithograph poster (hand signed by Jim Dine) 39 1/2 × 26 inches Frame included: held in the original vintage m...

James Rosenquist Rosenquist at Leo Castelli (Hand Signed and inscribed by James Rosenquist), 1988 Offset Lithograph Poster (Hand Signed and Dedicated) Frame included: held in original vintage frame under plexiglass A collectors' item when hand signed by the artist as the present work Early historic Leo Castelli exhibition poster published on the occasion of the James Rosenquist exhibition "Through the Eye of the Needle...

Ed Ruscha and Kenny Scharf Fun Vacation (200, Engberg), 1990 Lithograph in five colors on white Rives BFK paper (hand signed by BOTH Ed Ruscha and Kenny Scharf) 36 × 27 inches Hand-s...

Jim Dine Olympian Gestures (Hand Signed by Jim Dine), 1984 Limited Edition lithograph and offset lithograph poster Hand signed on the front 38 1/5 × 25 inches The limited edition, h...

Claes Oldenburg (Hand signed by Claes Oldenburg), 1992 Softback catalogue with stiff wraps (hand signed by Claes Oldenburg hand signed by Claes Oldenburg on the half title page 11 3/...

Jasper Johns Target with Four Faces (Hand signed by Jasper Johns), 1968 Offset lithograph poster (hand signed and dated by Jasper Johns) Hand signed and dated April 8, 1985 by Jasper...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

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...

Robert Indiana Purim: The Four Facets of Esther (I) Sheehan, 36, 1966 Color silkscreen on off white wove paper Printed by Stephen Poleskie, Chiro...

Jim Dine Kenneth Koch Homage (Oh Scarf of Paradise, Blue Sky is Bread to the Scarf), 1966 Color lithograph on blue grey wove paper with deckled edges 37 × 24 1/2 inches Pencil signed...

Makes a fantastic gift! Robert Indiana Monograph: Robert Indiana and the Star of Hope (hand signed by the artist as well as both writers), 2009 Hardback monograph with dust jacket (h...

Christo and Jeanne-Claude, Christo, Javacheff Christo Wrapped Trees, Switzerland poster (Hand Signed by Christo and Jeanne-Claude), 1998 Offset lithograph (hand signed) Signed Christ...

Jasper Johns Recent Still Life (Hand signed and dated by Jasper Johns), 1966 Collotype. Hand signed and dated by Jasper Johns Edition of 2100 (this work is, exceptionally, hand signed & dated by Johns; the regular edition is not) Signed and dated lower right front by Jasper Johns in graphite pencil August, 27, 2008 Provenance: Estate of artist and noted collector Rick Collar Framed This scarce early (1966) limited edition collotype was published on the occasion of the exhibition "Recent Still Life" at the Museum of Art, Rhode Island School of Design. The regular unsigned edition was 2100, and the official signed edition was 100; however, exceptionally, Jasper Johns signed...

Vik Muniz (after) Paper Crane for Japan (Autographed and dedicated "To Kevin") Color offset Lithograph 24 × 36 inches Boldly signed, dated and dedicated i...

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...

Roy Lichtenstein Paintings Drawings Collages Prints at Kent State University, 1976 Historic Offset Lithograph Poster 21 × 15 3/4 inches Unframed Limited edition highly collectible vintage Roy Lichtenstein poster. It was acquired from the estate of Ohio artist Joseph O' Sickey, a personal friend of Roy Lichtenstein, who was involved with the creation of the show. Very few of these posters remain, and in fact the only other one we have seen in recent years also came from O'Sickey's estate. "Lichtenstein", 1976, exhibition invite/poster, Kent State University School of Art, January 4-23-1976, lithograph on paper. This image is a 2 color version of Lichtenstein's 1972 work "still life with goldfish bowl and painting of a golf ball", which was inspired by Henri Matisses's 1912 work "goldfish." In very good condition with original folds, as issued Over the course of his career, Roy Lichtenstein designed 70 posters...

A very good impression of this color lithograph on Rives BFK. Signed, dated and numbered 64/175 in pencil by Rivers. Published by Marlborough Graphics, Inc., New York.

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...

Robert Indiana Deluxe Limited Edition with Slipcase: Robert Indiana Early Sculpture 1960-1962 (Hand signed and inscribed with heart drawing by Robert Indiana ), 1991 Hardback monogra...

James Strombotne Love, 1965 Lithograph with Deckled Edges Hand signed, dated and annotated "Bon a Tirer" on the front; with publishers blind stamp (the regular edition was 20) 30 × 2...

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...

JIM DINE This is How I Remember Now (Hand Signed), 2008 Offset Lithograph Poster for exhibition of photographs by Jim Dine 32 × 24 inches Signed boldly in white marker by Jim Dine on the front Unframed Published by: Det Kongelige Bibliotek, Denmark Provenance: Jim Dine personally signed it for the present owner in 2012 at a special poetry reading that the artist gave at the Dia Art Foundation. Extremely rare when hand signed! Accompanied by gallery issued Certificate of Guarantee This poster was produced in conjunction with a 2008 German exhibition of Jim Dine's photographs. Jim Dine personally signed it for the present owner in 2012 at a poetry reading that the artist gave at the Dia Art Foundation, so provenance is direct and impeccable. The text on the poster reads "This Is How I Remember Now Portraits", with a portrait of the artist juxtaposed in the background - and is perhaps as a commentary on the elusiveness of memory in life, art and photography. The poster is accompanied by a copy of the flyer publicizing the event where Jim Dine signed...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

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Jim Dine Raven and Owls (Hand Signed), 2000 Offset Lithograph Poster; hand signed by Jim Dine 38 3/4 × 35 1/2 inches Hand signed by Jim Dine lower front Unframed This dramatic offset...