Komar & Melamid Figurative Prints

SALE ONE WEEK ONLY "As I opened fire" is a lithograph triptych by Roy Lichtenstein whose provenance is printed on verso: Coll. Stedelijk Museum Amsterdam. Editions were copyrighted by the Stedelijk Museum Amsterdam and corrected with the original and printed in the Netherlands. Each piece measures: 25 1/8" h x 20 5/8" w. 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 atRutgers 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...

FLOWER BALL - BURNING BLOOD Date of creation: 2018 Medium: Offset lithograph with silver and high gloss varnishing on paper Edition number: 30/300 Size: 71 cm Ø Condition: In mint co...

Artist: Walasse Ting (Chinese-American, 1929-2010) Title: "Lady with a Vase" *Signed and dated by Ting in pencil lower right Year: 1981 Medium: Original Lithograph on Somerset paper ...

Yayoi Kusama Offset lithograph poster, 2017 Published by David Zwirner Unframed, with original folds as issued (see photo) Gorgeous Yayoi Kusama offset lithograph poster published by David Zwirner Gallery for a 2018 exhibition. It has natural folds as it was folded in a square, but is otherwise in excellent condition and the folds will frame out This print originally accompanied the monograph "Yayoi Kusama: Festival of Life," published to accompany an exhibition held at David Zwirner, New York, 2017. It was printed in a limited, but unknown edition and has since sold out Yayoi Kusama Biography Yayoi Kusama's work has transcended two of the most important art movements of the second half of the twentieth century: Pop art and Minimalism. Her highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes. Born in 1929 in Matsumoto, Japan, Kusama’s work has been featured widely in both solo and group presentations. She presented her first solo show in her native Japan in 1952. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking and influential happenings, events, and exhibitions. Her work gained renewed widespread recognition in the late 1980s following a number of international solo exhibitions, including shows at the Center for International Contemporary Arts, New York, and the Museum of Modern Art, Oxford, both of which took place in 1989. She represented Japan in 1993 at the 45th Venice Biennale, to much critical acclaim. In 1998, the Los Angeles County Museum of Art and the Museum of Modern Art, New York, co-organized Love Forever: Yayoi Kusama, 1958–1968, which toured to the Walker Art Center, Minneapolis (1998-1999), and Museum of Contemporary Art, Tokyo (1999). More recently, in 2011 to 2012, her work was the subject of a large-scale retrospective that traveled to the Museo Nacional Centro de Arte Reina Sofía, Madrid; Centre Georges Pompidou, Paris; Tate Modern, London; and the Whitney Museum of American Art, New York. From 2012 through 2015, three major museum solo presentations of the artist’s work simultaneously traveled to major museums throughout Japan, Asia, and Central and South America. In 2015, the Louisiana Museum of Modern Art in Humlebæk, Denmark, organized a comprehensive overview of Kusama’s practice that traveled to Henie-Onstad Kunstsenter, Høvikodden, Norway; Moderna Museet, Stockholm; and Helsinki Art Museum. In 2017-2019, a major survey of the artist’s work, Infinity Mirrors, was presented at the Hirshhorn Museum and Sculpture Garden, Washington, DC; Seattle Art Museum; The Broad, Los Angeles; Art Gallery of Ontario, Toronto; The Cleveland Museum of Art, Ohio; and the High Museum of Art, Atlanta, Georgia. Yayoi Kusama: Life Is the Heart of the Rainbow, which marked the first large-scale exhibition of Kusama’s work presented in Southeast Asia, opened at the National Gallery of Singapore in 2017 and traveled to the Queensland Art Gallery Gallery of Modern Art in Brisbane, Australia and the Museum of Modern and Contemporary Art in Nusantara, Jakarta. In 2019, All About Love Speaks Forever, an exhibition "tailor-made" specifically for the Fosun Foundation, Shanghai included more than 40 works by the artist. A comprehensive retrospective of the artist’s work was on view at Gropius Bau, Berlin in 2021, and traveled to the Tel Aviv Museum of Art in 2022. KUSAMA: Cosmic Nature...

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

David Hockney San Francisco Opera Summer Season (Hand Signed), 1982 Offset lithograph poster (hand signed by David Hockney) 39 × 34 inches Boldly signed by David Hockney on the front...

The Original Keith Haring 1987 "Safe Sex" Pop Art Poster is a rare and valuable piece promoting the importance of safe sex and AIDS prevention. Conserv...

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...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ship...

Mel Ramos 50 Years of Pop Art (Hand signed, dated and inscribed to Nadine by Mel Ramos), 2010 Softback monograph with dust jacket (hand signed, dated and inscribed by Mel Ramos) Hand...

Tracey Emin Angel Without You monograph (Hand signed by Tracey Emin), 2013 Hardback monograph with illustrated boards (hand signed by Tracey Emin) Boldly signed in blue ink by Tracey...

Original poster: HEAD OUT TO OZ, artist: James McMullan. Size 24" x 37". Rolled, Not folded; very good to excellent lithograph condition. Year: ...