Robert Anderson Figurative Prints

Artist: Walasse Ting (Chinese-American, 1929-2010) Title: "Lady with Flowers" *Signed and numbered by Ting in pencil lower left Year: 1979 Medium: Or...

Raymond Pettibon Black Flag 1982/1984: A set of 2 rare Raymond Pettibon illustrated Black Flag punk flyers. Published on the occasion of: Black Flag & Saccharine Trust at the Whis...

MARC CHAGALL (1887-1985) "Day Break" lithograph in colours, 1983, on wove paper. Signed in pencil, Numbered 26/50 in pencil 21.5 x 17 Inches. LITERATURE: Mourlot 1014 CONDITION: Exce...

Basquiat boxing poster 1997: This rare double-sided 1997 Basquiat boxing poster was published on occasion of the 1990s exhibition, “Jean-Michel Basquiat Works and Portraits” at Parco...

Lithograph on Magnani-Pescia paper. Paper size 80cm x 59cm, work size 61cm x 38cm. Excellent condition, no defects. Hand colored by the artist. The master Romano Parmeggiani was born...

Vintage Saul Steinberg Lithograph Published by: Galerie Maeght, Paris, c.1970 Portfolio: Derrière le miroir Excellent frame piece Lithograph in colors 15 x 22 inches Fold-line as i...

Jim Dine Metropolitan Opera Centennial 1883-1983 poster, 1983 Offset lithograph poster; unsigned 46 × 29 inches Unframed This limited edition poster was pu...

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...

TWO GIRLS DANCING Year: 2011 Medium: 2-color lithograph Size: 27 x 30 inches (69 x 76 cm) Edition: 100 Price: $1,900 Born in New York City in 1948, Eric Fischl grew up in the suburbs of Long Island , his parents having moved there shortly before his second year.”Safer place to raise a family”, they used to say. Against a backdrop of alcoholism and a country club culture obsessed with image over content, Fischl became focused on the rift between what was experienced and what could not be said. Until the late 70’s, suburbia was not considered a legitimate genre for art. With his first New York show at the Edward Thorp Gallery, epithets like “psycho-sexual suburban dramas” became velcroed to his disturbing images of dyfunctional family life. Fischl began his art education in Phoenix, Arizona where his parents had moved in 1967. First at Phoenix Junior College, then a year at Arizona State University, and finally getting his BFA in 1972 at the recently opened California Institute of the Arts in Valencia, California. After graduation he moved to Chicago where he worked as a guard at the Museum of Contemporary Art. It was in Chicago that Fischl was exposed to the non-mainstream art of the Hairy Who. “The underbelly, carnie world of Ed Paschke and the hilarious sexual vulgarity of Jim Nutt...

Medium: original lithograph. Printed in 1970 for the art revue Derriere le Miroir (issue No. 188) and published in Paris by Maeght. Size: 15 x 11 inches (380 x 278 mm). There is text...

Keith Haring International Volunteer Day 1988: A rare example featuring a well-preserved, bold black-marker signature by Keith Haring. "International Volunteer Day" was a human right...

Unframed Richard Lindner (German/American 1901-1978) original hand signed in pencil lithograph #16 of a series of 100 dated and stamped lower right 1971. Shoot (back) from a series o...