1970s Prints and Multiples

Mark Tobey, American (1890 - 1976) - Liberation, Year: 1973, Medium: Color Etching on Richard de Bas, Image Size: 10.75 x 9.25 inches, Size: 26.25 x 20 in. (66.68 x 50.8 cm)

"Le Lézard aux Plumes d'Or" is an original lithograph realized by Joan Miró in 1971, and part of the famous homonym series. Hand signed and numbered, it is an H.C. (out of commerce)...

Monkey is an original artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Edition of 150 pieces.

Richard Haas The Rookery Courtyard, Chicago, 1974 Etching on etching rag paper Signed, titled and numbered 11/50 in graphite pencil on the front Frame included Etching on etching ra...

Artist: Jimmy Ernst  Title: Plate VI Year: 1970 Print: Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 58 /125 Jimmy Ernst’s artwork was inf...

XXe Siecle, No. 34, Mai 1970 Color lithograph, 1970 Unsigned (as usual for XXeme Siecle edition) From: XXe Siecle, Volume 34, 1970 Published by G. di San Lazzaro for A. Maeght, Paris...

This lithograph, produced in an edition of 100, and signed and numbered by James Rosenquist, is offered by CLAMP in New York.

Artist - Salvador Dali (Spanish, 1904-1989) Title - PRINCE OF CUPS, Tarot Card Series Publisher - DALART N.V. Year published - 1979 Medium - Lithograph on Arches Cover 270 gsm. 100% acid free, signed in pencil, inscribed 2/5 PP (Printers Proof) by Salvador Dali on lower print margin, publishers mark "DALART N.V. Copyright 1979" blindstamp embossed on lower left print margin. Fine impression, vivid colors, unframed, in very good condition. Print documentation provided.. Listed in the Albert Field's OFFICIAL CATALOGUE OF THE GRAPHIC WORKS OF SALVADOR DALI, Reference #79-15. PRINCE OF CUPS from the Tarot Series 1979, is a surrealist style limited edition lithograph by Salvador Dalí (1904 – 1989) Printed on archival Arches paper, 100% acid free. PRINCE OF CUPS depicts a freely drawn, black line portrait of a young Prince wearing his golden yellow crown, sporting a white ruffle collared shirt, looking slightly sideways posed behind a golden chalice...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original screenprints that are a definitive survey of the artis...

This limited edition five-color offset lithograph by Joan Miró was created for an exhibition of his work held at Pace Columbus in Columbus, Ohio, in 1979...

Paper Size: 25 x 33.5 inches ( 63.5 x 85.09 cm ) Image Size: 19.5 x 30.5 inches ( 49.53 x 77.47 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition five colo...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate, embossed with the official Braniff Flying Colors Collection seal, and unnumbered, as issued. Good condition. Not...

Pierre Clerk Black and White - 1973 Print - Silkscreen on Somerset paper 32'' x 36'' Edition: Signed in pencil and marked 27/100 image size: 28" x 32" i...

Jacob Lawrence (1917 - 2000) The Capture of Marmelade (from The Life of Toussaint L'Ouverture series), 1987 Color screenprint on Bainbridge Two Ply Rag paper Sheet 32 1/8 x 22 1/16 inches Sight 29 3/4 x 19 1/4 inches A/P 1/30, aside from the edition of 120 Signed, titled, dated, inscribed "A/P" and numbered 1/30 in pencil, lower margin. Literature: Nesbett L87-2. A social realist, Lawrence documented the African American experience in several series devoted to Toussaint L’Ouverture, Frederick Douglass, Harriet Tubman, life in Harlem, and the civil rights movement of the 1960s. He was one of the first nationally recognized African American artists. “If at times my productions do not express the conventionally beautiful, there is always an effort to express the universal beauty of man’s continuous struggle to lift his social position and to add dimension to his spiritual being.” — Jacob Lawrence quoted in Ellen Harkins Wheat, Jacob Lawrence: The Frederick Douglass and Harriet Tubman Series of 1938 – 40. The most widely acclaimed African American artist of this century, and one of only several whose works are included in standard survey books on American art, Jacob Lawrence has enjoyed a successful career for more than fifty years. Lawrence’s paintings portray the lives and struggles of African Americans, and have found wide audiences due to their abstract, colorful style and universality of subject matter. By the time he was thirty years old, Lawrence had been labeled as the ​“foremost Negro artist,” and since that time his career has been a series of extraordinary accomplishments. Moreover, Lawrence is one of the few painters of his generation who grew up in a black community, was taught primarily by black artists, and was influenced by black people. Lawrence was born on September 7, 1917,* in Atlantic City, New Jersey. He was the eldest child of Jacob and Rosa Lee Lawrence. The senior Lawrence worked as a railroad cook and in 1919 moved his family to Easton, Pennsylvania, where he sought work as a coal miner. Lawrence’s parents separated when he was seven, and in 1924 his mother moved her children first to Philadelphia and then to Harlem when Jacob was twelve years old. He enrolled in Public School 89 located at 135th Street and Lenox Avenue, and at the Utopia Children’s Center, a settlement house that provided an after school program in arts and crafts for Harlem children. The center was operated at that time by painter Charles Alston who immediately recognized young Lawrence’s talents. Shortly after he began attending classes at Utopia Children’s Center, Lawrence developed an interest in drawing simple geometric patterns and making diorama type paintings from corrugated cardboard boxes. Following his graduation from P.S. 89, Lawrence enrolled in Commerce High School on West 65th Street and painted intermittently on his own. As the Depression became more acute, Lawrence’s mother lost her job and the family had to go on welfare. Lawrence dropped out of high school before his junior year to find odd jobs to help support his family. He enrolled in the Civilian Conservation Corps, a New Deal jobs program, and was sent to upstate New York. There he planted trees, drained swamps, and built dams. When Lawrence returned to Harlem he became associated with the Harlem Community Art Center directed by sculptor Augusta Savage, and began painting his earliest Harlem scenes. Lawrence enjoyed playing pool at the Harlem Y.M.C.A., where he met ​“Professor” Seifert, a black, self styled lecturer and historian who had collected a large library of African and African American literature. Seifert encouraged Lawrence to visit the Schomburg Library in Harlem to read everything he could about African and African American culture. He also invited Lawrence to use his personal library, and to visit the Museum of Modern Art’s exhibition of African art in 1935. As the Depression continued, circumstances remained financially difficult for Lawrence and his family. Through the persistence of Augusta Savage, Lawrence was assigned to an easel project with the W.P.A., and still under the influence of Seifert, Lawrence became interested in the life of Toussaint L’Ouverture, the black revolutionary and founder of the Republic of Haiti. Lawrence felt that a single painting would not depict L’Ouverture’s numerous achievements, and decided to produce a series of paintings on the general’s life. Lawrence is known primarily for his series of panels on the lives of important African Americans in history and scenes of African American life. His series of paintings include: The Life of Toussaint L’Ouverture, 1937, (forty one panels), The Life of Frederick Douglass, 1938, (forty panels), The Life of Harriet Tubman, 1939, (thirty one panels), The Migration of the Negro,1940 – 41, (sixty panels), The Life of John Brown, 1941, (twenty two panels), Harlem, 1942, (thirty panels), War, 1946 47, (fourteen panels), The South, 1947, (ten panels), Hospital, 1949 – 50, (eleven panels), Struggle: History of the American People, 1953 – 55, (thirty panels completed, sixty projected). Lawrence’s best known series is The Migration of the Negro, executed in 1940 and 1941. The panels portray the migration of over a million African Americans from the South to industrial cities in the North between 1910 and 1940. These panels, as well as others by Lawrence, are linked together by descriptive phrases, color, and design. In November 1941 Lawrence’s Migration series was exhibited at the prestigious Downtown Gallery in New York. This show received wide acclaim, and at the age of twenty four Lawrence became the first African American artist to be represented by a downtown ​“mainstream” gallery. During the same month Fortune magazine published a lengthy article about Lawrence, and illustrated twenty six of the series’ sixty panels. In 1943 the Downtown Gallery exhibited Lawrence’s Harlem series, which was lauded by some critics as being even more successful than the Migration panels. In 1937 Lawrence obtained a scholarship to the American Artists School in New York. At about the same time, he was also the recipient of a Rosenwald Grant for three consecutive years. In 1943 Lawrence joined the U.S. Coast Guard and was assigned to troop ships that sailed to Italy and India. After his discharge in 1945, Lawrence returned to painting the history of African American people. In the summer of 1947 Lawrence taught at the innovative Black Mountain College in North Carolina at the invitation of painter Josef Albers. During the late 1940s Lawrence was the most celebrated African American painter in America. Young, gifted, and personable, Lawrence presented the image of the black artist who had truly ​“arrived”. Lawrence was, however, somewhat overwhelmed by his own success, and deeply concerned that some of his equally talented black artist friends had not achieved a similar success. As a consequence, Lawrence became deeply depressed, and in July 1949 voluntarily entered Hillside Hospital in Queens, New York, to receive treatment. He completed the Hospital series while at Hillside. Following his discharge from the hospital in 1950, Lawrence resumed painting with renewed enthusiasm. In 1960 he was honored with a retrospective exhibition and monograph prepared by The American Federation of Arts. He also traveled to Africa twice during the 1960s and lived primarily in Nigeria. Lawrence taught for a number of years at the Art Students League in New York, and over the years has also served on the faculties of Brandeis University, the New School for Social Research, California State College at Hayward, the Pratt Institute, and the University of Washington, Seattle, where he is currently Professor Emeritus of Art. In 1974 the Whitney Museum of American Art in New York held a major retrospective of Lawrence’s work that toured nationally, and in December 1983 Lawrence was elected to the American Academy of Arts and Letters. The most recent retrospective of Lawrence’s paintings was organized by the Metropolitan Museum of Art in 2020, and was accompanied by a major catalogue. Lawrence met his wife Gwendolyn Knight...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Anemone per Antipasti (Anemone of the Toreador) Year: 1972 Medium: Lithograph with embossing on heavy Arches paper, signed and num...

Robert Rauschenberg Leo Castelli Gallery 1986: Vintage Robert Rauschenberg exhibition poster published by Castelli Graphics in conjunction with the exhibition, Robert Rauschenberg: Tibetan Keys and Locks, May 21-June 18, 1986 at Leo Castelli New York. A unique vintage Rauschenberg collectible featuring the artist's signature collage style. Well-sized and suitable for framing. Off-set lithograph 1986. 20 x 29.75 inches. Double-quattro fold-lines as originally issued; minor edge wear to one fold-line; otherwise very good condition (no rips, tears, stains, etc.) Scarce form an edition of unknown; unsigned. First edition, 1st printing; postmarked 1986 on the verso. Artist biography Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as a true art world rebel rouser...

Artist Name: Fran Bull Title: French Seaport Year: 1980  Medium Type: Screen Print on Somerset Paper Size-Width Size-Height: 22'' x 30'' inches Signed Edition Size: signed in pencil ...

Joseph Grippi, American (1924 - 2001) - Orange Sunset, Year: circa 1975, Medium: Screenprint Monoprint, signed in pencil, Image Size: 29.25 x 40 inches, Size: 31.5 x 42 in. (80.01 x ...

Artist : Romare Bearden Title; Bopping at Birdland (stomp time) Year: 1979 Size: 33 ¼ x 24 inches Lithograph on Arches Paper Edition; Signed in pencil and marked 114/175 (Gelburd/Ros...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Artist: Dali, Salvador Title: The Fiancee of King of Garbe Series: Le Decameron Date: 1972 Medium: drypoint printed in color Unframed Dimensions: 17.72" x 12.2" Framed Dimension...

Medium: lithograph (after the drawing). This Picasso lithograph from the "Le Gout du Bonheur" portfolio (the French title translates to "The Taste of Happiness") was printed in Munic...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche XLIV Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in ...

Fritz Eichenberg, 'A Visit to the King of the Waters' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

"Les Pyramides Grandes" framed geometric abstract lithograph of pyramids by Alexander Calder. Hand-lettered EA on lower left front. Hand-signed C...

Original 1972 Salon du Cheval French Poster – Vintage Equestrian Art. Archival linen backed in Grade A condition, ready to frame Step into the golden age of French equestrian culture...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Salvador Dali (1904-1989) - Le cheval de Troie Lithograph from 1970. Dimensions of work: 68 x 50 cm On B....

Joan Miró "Le Permissionnaire", 1974 Original etching and aquatint From the edition of 50 on arches paper, hand signed and numbered 3/50. Image measures: 45 x 29 inches Sheet measure...

ARTIST: Salvador Dali TITLE: Tauramachie Surrealiste The Giraffe on Fire MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: LXIV/C MEASUREMENTS: 20" x 26" YEAR: 1970 FRAMED...

Patrick Heron was a painter, textile designer and writer on art. He was born in January 1920 in Leeds, the son of T.M. Heron, founder of Cresta Silks and a Christian sociologist. ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 190, published by Aimé Maeght, Éditeur, Paris; printed ...

Edition of 199 prints, numbered and hand signed. Very good conditions.

Artist: Victor Vasarely Title: Profound Works Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher: Ed...

"Fondly Do We Remember" From the Four Ages of Love Suite by Norman Rockwell Media: Lithograph on Paper Image Dimensions: 21" x 22" Year Produced: 1977 Edition Size: 200 Numbered (1-200), 60 Artists Proofs (1-60) Edition Number: A/P (Artist proof) Signed and Numbered in pencil by the artist Condition: In excellent condition Norman Rockwell was an American painter and illustrator known for his iconic depictions of American culture created for The Saturday Evening Post. With a range of favorite subjects that included nuclear families, mischievous children, and small-town life, his work has achieved an iconic status: the 1943 painting of a Thanksgiving dinner, Freedom from Want, has been reproduced and parodied countless times in contemporary culture. As an artist, Rockwell has had a lasting effect on US society beyond any singular work, with his paintings seen as indelible images that went on to inspire American directors such as George Lucas, Steven Spielberg, and particularly Robert Zemeckis, whose 1994 film Forrest Gump recreates several of Rockwell’s paintings as scenes throughout the film. Though he enjoyed success throughout his career, Rockwell’s idyllic and sentimental outlook on American society was not necessarily embraced by art critics, though his later politically activist work garnered praise for its tackling of controversial subjects. Born on February 3, 1894 in New York, NY, he went on to study at the National Academy of Design and the Art Students League. Rockwell notably had a longstanding relationship with the Boy Scouts...

Art: 17" x 23 1/4" Frame: 27 5/8" x 33 7/8" Original color lithograph (VIII/L) Signed lower right. This original Weisbuch lithograph comes from th...

Abstract Composition  is a lithograph realized by Piero Sadun in the 1970s. The state of preservation of the artwork is good.

Antoni Tapies (Spain, 1923-2012) 'Nocturn Matinal', 1970 lithograph on paper Manually intervened with pencil by Antoni Tápies in the central part. 24.1 x 42.6 in. (61 x 108 cm.) Edit...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Pierre SOULAGES (1919-2022) Serigraph n°12, 1979 Original serigraph Signed in pencil Numbered 27/75 copies On Arches vellum 52 x 37 cm (c. 21 x 15 in) REFERENCE: Catalogue raisonné of the original prints of Pierre Soulages, BNF #104 INFORMATION: This serigraph is part of the series "On the wall opposite", published by Bernard Frize...

Construction d’un temple – Plate n. 8  is a b/w original etching realized in 1972 (as written on plate on the lower right margin) by Paul Delvaux. From the collection “ Construction...

Original, horizontal, 1972, 'ICED LOLLY" created by the British artist Michael English. Printed in Harlow England. This nude is melting the form ...

Medium: original lithograph. Printed in 1979 and published in Barcelona by La Poligrafa in an edition of 1000. Size: 10 x 7 1/2 inches (255 x 188 mm). Not signed.

Patrick Heron was a painter, textile designer and writer on art. He was born in January 1920 in Leeds, the son of T.M. Heron, founder of Cresta Silks and a Christian sociologist. Fr...

Vintage offset poster realized in occasion of the exhibition @Galleria Marino of illustrations for childrens' Books in 1976.

Delve into the provocative world of Larry Clark with this exclusive collection of three striking photographs, featuring outtakes scenes from Supreme photoshoots. Each photograph, mea...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Stephen White - Marion in Costume, Year: 1972, Medium: Woodblock on Japon, signed, dated, titled and numbered in pencil, Edition: AP, Image Size: 31 x 22.5 inches, Size: 35.5 x 25 in...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

The Organization of Solidarity of the Peoples of Asia, Africa and Latin America (OSPAAAL) created by Fidel Castro, organizes international conferences. This beautiful poster was mad...

Artist: Ellsworth Kelly (American, 1923-2015) Title: “Blue/Red-Orange” *Signed by Kelly in pencil lower right Year: 1972 Medium: Original Lithograph on Special Arjomari paper Limited...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Titles: Male Nude 2 Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 17...

Printer’s ink from rubber stamp on Cambersand paper, mounted on vélin paper, as issued. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Published by Parasol Press, Ltd., New York; distributed by Museum of Modern Art (MoMA), New York; rubber stamp engraved by Unity Engraving Company Inc, Englewood; printed by Parasol Press, Ltd., New York, under the direction of Aaron Arnow, New York, from an edition of M, 1977. ROBERT MANGOLD (1937) is an American minimalist artist. His son is the film director, producer and screenwriter James Mangold. “Robert Mangold’s paintings...

Artist Name: Ilya Bolotowsky Title: Ilya Bolotowsky Red Tondo 1979 Signed Limited Edition Silkscreen, BFK Rives Paper Rare Year: 1979 Medium Type: Screen Print Size-Width Size-Heigh...

Lithograph on vélin paper. Paper Size: 12.4 x 19.3 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: VI-2 from La Magnanerie de la Ferrage Year: 1971 Medium: Linocut on Japon, signed in pencil Edition: Pour Leon Amiel Image Size...

Original Evel Knievel, 1971 vintage movie poster. Excellent condition, folded as initially shipped to the movie theater. U. S. original 1-sheet movie poster A Timeless Tribute t...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Maravillas con Variaciones Acrosticas en el jardin de Miro (Number 12) Year: 1975 Medium: Lithograph, signed in the plate Edition: 150...

Abstract Green Composition is a Screen Print on Paper realized by Victor Debach in 1970s. Limited edition of 100 copies numbered and signed by the artist with pencil on the lower ma...

Venus III Roberto Carbone, Italian (1949) Date: 1979 Lithograph, signed and numbered in pencil Edition of 250 Size: 27 in. x 20 in. (68.58 cm x 50.8 cm)