James Rosenquist

Flower Garden, 1972

1972

HOMAGE TO FRANCIS BACON (STUDY FOR HEAD OF ISABEL RAWSTHORNE AND GEORGE DYER) Date of creation: 2016 Medium: Offset lithograph with cold foil stamp on paper Edition: 300 Size: 50 x 5...

Takashi Murakami - A RETURN FROM WANDERING Date of creation: 2022 Medium: Offset lithograph with cold stamp and high gloss varnish on paper Edition: 300 Size: 71 cm Ø Condition: In m...

WITH THE COMING OF SPRING, THE GRASS RETURNS NATURALLY Date of creation: 2013 Medium: Offset lithograph with silver on paper Edition: 300 Size: 50 x 50 cm Condition: In mint conditio...

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 vintage exhibition poster reproduces Jim Dine’s 1970 lithograph Hammers, which is in the collection of the Museum of Contemporary Art, Chicago. It w...

Bright orange leaps up like flames, or swaying grass, over which hovers a large-eyed bee sketched in black and orange. Over the fire-red in neat handwriting Ron Padgett...

Pictured in this Jim Dine lithograph is Sybil Vane, the innocent yet glamorous actress and object of Dorian Gray's affection and obsession in Oscar Wilde's novel The Picture of Doria...

A sparrow perches at the center of a swath of pale pink, around which wraps hand-written lines from Ron Padgett’s poem “Ode to Clemens Laurrell”: “So I lean back against the willows ...

This print depicts the tangle of barbed wire encircling curling and twisting neon, with lengths of wood at the center. The dark paper sets off the electric blue, and captures the ori...

This cheeky, pastel pink print depicts a range of intimate styles, a tongue-in-cheek recollection of the gridded haircuts displayed outside barber shops. It is from the Oo La La portfolio of 15 lithographs printed offset from zinc plates, drawn by both artists. Produced in collaboration with Ron Padgett...