Julian Opie

Woman Taking Off Man's Shirt by Julian Opie

2003

Screenprint 23.75 x 39.50 in (60.3 x 100.3 cm). Published by K21 Kunstammlung Nordrhein-Westfalen, Dusseldorf. Unknown edition size. Publisher text detailed along the bottom. CATALOGUE RAISONNÉ: Watkins, Jonathan. "Julian Opie: Editions 1984 - 2011. Catalogue Raisonné", Alan Cristea Gallery, 2011, p.244. In a handful of simple black lines and splashes of red and yellow, Julian Opie presents a sensual figural study in ‘Woman Taking Off a Man’s Shirt...

Study For Nature By Caroline Walker Caroline Walker is a British artist renowned for her detailed and evocative figurative paintings that explore the...

Campari vintage poster After Milton Glaser Milton Glaser (1929-2020) was a renowned American graphic designer whose work shaped the visual culture of the 20th century. His most ic...

Ange Du Jugement Marc Chagall 1974 Vintage French Galerie Poste AFTER MARC CHAGALL Marc Chagall (1887-1985) was a pioneering Russian-French artist,...

James Rosenquist Cleveland Center for Contemporary Art 1968-1983 Offset Lithograph Poster on White Wove Paper Plate (printed) signature Limited Edition of 500 (unnumbered) Unframed A...

Signed, Dated, Numbered, Titled and Uniquely Inscribed front and back in pencil, with two original artist's drawings "WALL TO WALL" FROM WALL: TWO STONE SUITE IV, WITH TWO ORIGINAL I...

Charles Pachter's iconic and celebrated series the Painter Flag was created in the early 1980's. For nearly forty years it has been one of his most sought-after creations and hangs in important commercial and public institutions across the country. In 2001, shortly after the tragedy of 9/11 Pachter created this special lithograph both honoring the fallen and celebrating Canada and the United States' friendship. Like the best of Pachter's work "Side by Side...

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...