Vintage 1960's Robert Indiana (After) Large Love Silkscreen Print Red Blue Green

A vintage circa 1964 double sided die cut print by Dieter Rot (Dieter Roth 1930-1998). This double sided die cut print was part of promotional material sent...

A vintage circa 1964 double sided die cut print by Dieter Rot (Dieter Roth 1930-1998). This double sided die cut print was part of promotional material sent...

This is where the antique mixes with the modern. Where worlds collide and give rise to something fresh, new and unique. A mid 19th Century British print presented in a Kulicke frame which had it's origins in the mid 20th Century in America. This print of Improved Lincolnshire Sheep printed...

This is where the antique mixes with the modern. Where worlds collide and give rise to something fresh, new and unique. A mid 19th century British print by Henry Strafford presented ...

A mid 19th century English full length portrait tinsel print hand colored and hand embellished, framed and retailed by Saxon and Clemens of New York City circa mid 20th century. This print depicts, "Mr. Freer as Marmion". This is one of three tinsel prints that I have available on my HKFA storefront here on 1stdibs. From the Robertson Davies Collection website, I would like to share with you this fascinating history of tinsel prints, "As the popularity of these prints became wide spread, bags of prepared tinsel decorations were sold along with the prints making them customizable by the purchaser. Thus after the tinseling process, no two prints would be identical. Tinsel prints emerged from the tradition of toy theatres. Once an appropriate model theatre was purchased, the public could buy prints depicting actors, actresses and scenery from plays that were being performed at the time and recreate those plays in their home. As the "juvenile drama" became popular, play books were published along side prints so the words of the plays could be recreated as well. While the genre flourished the desire to purchase a larger print of a specific actor or actress remained. Thus two types of theatrical prints became to be printed: those for juvenile dramas that were small and excluded specific actors names, and actors portraits that were larger and more individualized. In the larger theatrical portraits, characters were "always displayed full length" and "striking [a] habitual and dramatic pose". The 1830's marked the emergence of tinseling prints as a past time. Before this time, if an individual wished to embellish a portrait, individual sheets of metal foil would have to be purchased, measured and cut to fit an individual print. Once tinseling became common, different packages of precut tinsel (specific to the print)would be sold with each print as aforementioned. The term tinsel specifically refers to the metal sheets used to represent armor and weapons, but more broadly includes pieces of satin, silk, velvet, leather, and feathers among other embellishments. Although tinsel prints are now viewed as works of art, in the nineteenth century they were no more than a child's pastime. Most sources cite tinseling, as well as toy theatre, as being most popular among boys from the working class. Their popularity among boys could explain why male portraits were produced more frequently than female, however, it is more likely that male costumes, with their multiple pieces of armor and arms...

A mid 19th century English full length portrait tinsel print hand colored and hand embellished, framed and retailed by Saxon and Clemens of New York City (original paper backing has been lost to time, however this print is similar to two others both from Saxon and Clemens) circa mid 20th century. This print depicts, "Mr. Collins as Sir Reginold the Bold in the Giant of Palestine". This is one of three tinsel prints that I have available on my HKFA storefront here on 1stdibs. From the Robertson Davies Collection website, I would like to share with you this fascinating history of tinsel prints, "As the popularity of these prints became wide spread, bags of prepared tinsel decorations were sold along with the prints making them customizable by the purchaser. Thus after the tinseling process, no two prints would be identical. Tinsel prints emerged from the tradition of toy theatres. Once an appropriate model theatre was purchased, the public could buy prints depicting actors, actresses and scenery from plays that were being performed at the time and recreate those plays in their home. As the "juvenile drama" became popular, play books were published along side prints so the words of the plays could be recreated as well. While the genre flourished the desire to purchase a larger print of a specific actor or actress remained. Thus two types of theatrical prints became to be printed: those for juvenile dramas that were small and excluded specific actors names, and actors portraits that were larger and more individualized. In the larger theatrical portraits, characters were "always displayed full length" and "striking [a] habitual and dramatic pose". The 1830's marked the emergence of tinseling prints as a past time. Before this time, if an individual wished to embellish a portrait, individual sheets of metal foil would have to be purchased, measured and cut to fit an individual print. Once tinseling became common, different packages of precut tinsel (specific to the print)would be sold with each print as aforementioned. The term tinsel specifically refers to the metal sheets used to represent armor and weapons, but more broadly includes pieces of satin, silk, velvet, leather, and feathers among other embellishments. Although tinsel prints are now viewed as works of art, in the nineteenth century they were no more than a child's pastime. Most sources cite tinseling, as well as toy theatre, as being most popular among boys from the working class. Their popularity among boys could explain why male portraits were produced more frequently than female, however, it is more likely that male costumes, with their multiple pieces of armor and arms...

Extremely rare original silkscreen poster to Robert Indiana's legendary stabile Gallery show, where he first introduced the LOVE design on canvas and...

After Robert Indiana, Golden Love, Screenprint, Serigraph. Unsigned color screenprint on heavy wove paper with bright pop art colors: orange, yell...

Number 24, edition of 25. Number 2 of this smaller edition of Artist's Proofs can be found in the Smithsonian Museum of American Art. Signed, dated 1971 and numbered (in Roman Num...

Pop Art Robert Indiana Yield Brother 1971 Screenprint Edition 230 Red Blue “Yield Brother”, from the “Decade” suite. Screenprint on heavy wove-paper, 1971. An impactful work where Indiana made use of military signage, stenciled letters and a palette of strong colours creating tension between it’s call for peace and the visual language of military posters. Signed and dated and numbered (46/200) in pencil by the artist. The print also bears the artist’s copyright ink stamp. Part of an edition of 230 total: 30 artist’s proof and a regular edition of 200. The edition was printed by Domberger, Stuttgart (Germany) and published by Multiples Inc. New York City. Professionally framed in a brushed aluminium frame. Museum-glass was used to minimize reflection. Ready to hang. About the artist Robert Indiana (pseudonym of Robert Clark) ( New Castle, USA 1928 – Vinalhaven, USA 2018) was an American painter, sculptor and poet. He was a leading representative of pop art and created the internationally famous LOVE symbol in 1964. A self-described American painter of signs”, Robert Indiana’s works explore visual culture, national identity and personal history through symbols and colours inspired by signage and graphic design. Indiana had his first solo exhibition in 1962 at Eleanor Ward’s Stable Gallery, which at that time also represented Cy Twombly and Robert Rauschenberg. In 1962 he participated with the work The Black American Dream #2 in the exhibition New Realists, organized in the gallery of Sidney Janis. It was here that pop art first announced itself as a new movement in visual art. In the following years, Indiana would participate in all the important group exhibitions of this movement. Although the Pop Art movement made Indiana famous, he was never fully comfortable with the consumerist nature of Pop Art as his work often was very politically outspoken. In 1978 Robert Indiana left New York City for good, moving to the remote island of Vinalhaven in Maine, close to where his hero, the painter Marsden Hartley had lived. Since then he rarely gave interviews or engaged in the art world, yet he continued to align himself with political causes, designing the official poster for Barack Obama’s Presidential campaign in 2008. During his lifetime Indiana had countless exhibitions all over the world, and his work is included in the collections of numerous international museums: among others Metropolitan Museum New York, Museum of Modern Art New York, Tate Modern London, Stedelijk Museum Amsterdam and Hara Museum of Contemporary Art, Tokyo. Signed Signed and numbered (46/200) by the artist in pencil. Condition Overall good condition. Full margins. Slight undulation on right side of the print. Slight moisture damage in upper left margin. Edition Part of an edition of 230 total: 30 artist's proof and a regular edition of 200. The edition was printed by Domberger, Stuttgart (Germany) and published by Multiples Inc. New York City. Literature Robert Indiana Prints...

Robert Indiana "The Bridge" The Brooklyn Bridge 1983 241/250. Screen Print. Printed by Alexander Heinrici and published by The New York Graphic Society. Image size 23" wide and 32" t...

Robert Indiana poster silkscreen. (American, b. 1928-). "NY City Center Anniversary" silkscreen on silver paper. Lower left: List and poster copyright 1968 HKL LTD. Lower right: Robe...