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Item Ships From: New York
1897 Unknown 'R.R. Donnelley & Sons Company'
Located in Brooklyn, NY
Paper Size: 11.5 x 8.25 inches ( 29.21 x 20.955 cm ) Image Size: 8.25 x 5 inches ( 20.955 x 12.7 cm ) Framed: No Condition: A: Mint Additional Details: First printing Lithogra...
Category

19th Century Art Nouveau New York - Prints and Multiples

Materials

Lithograph

Miss Morison's Ghosts 1981 PBS miniseries
Located in Brooklyn, NY
Very large advertisement poster created by Mobil for the promotion of the Masterpiece Theatre series "Miss Morison's Ghosts". It was a 1981 British supernatural television drama that...
Category

1980s Contemporary New York - Prints and Multiples

Materials

Offset

KAWS COMPANION 2020: Complete Set of 3 Works (KAWS 2020 set)
By KAWS
Located in NEW YORK, NY
KAWS 2020 Companion: Complete Set of 3 Works: KAWS COMPANION 2020 was created by KAWS to commemorate the 20th anniversary of his signature figure, Companion — and as cultural commen...
Category

21st Century and Contemporary Contemporary New York - Prints and Multiples

Materials

Resin, Vinyl

Boat (study for estuary)
By Richard Bosman
Located in New York, NY
Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...
Category

Late 20th Century Modern New York - Prints and Multiples

Materials

Woodcut

Cabez sobre fondo Rosa, Surrealist Etching by Rufino Tamayo
By Rufino Tamayo
Located in Long Island City, NY
A Surrealist etching by Mexican artist Rufino Tamayo of a simple yellow figure against a pink background, staring at the viewer with piercing white eyes. This piece is 21 of 99 numb...
Category

1980s New York - Prints and Multiples

Materials

Etching

1964 Maurice Brianchon 'Saint-Jean-de-Luz, La Plage'
By Maurice Brianchon
Located in Brooklyn, NY
Paper Size: 10 x 7.5 inches ( 25.4 x 19.05 cm ) Image Size: 10 x 7.5 inches ( 25.4 x 19.05 cm ) Framed: No Condition: A: Mint Additional Details: Lithograph by Maurice Briancho...
Category

1960s Modern New York - Prints and Multiples

Materials

Lithograph

The Fountain of Venice, Etching by Raoul Dufy
By Raoul Dufy
Located in Long Island City, NY
The Fountain of Venice Raoul Dufy French (1877–1953) Date: c 1951 Etching, signed and numbered in pencil Edition of CXIX/CCXXV Image Size: 9 x 7 inches Frame Size: 17 x 14.25 inches
Category

1950s Impressionist New York - Prints and Multiples

Materials

Etching

Edith Hayllar 'A Summer Shower' 1982- Offset Lithograph
Located in Brooklyn, NY
Paper Size: 31.75 x 22 inches ( 80.645 x 55.88 cm ) Image Size: 18 x 16.5 inches ( 45.72 x 41.91 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age ...
Category

1980s New York - Prints and Multiples

Materials

Offset

My Fear is Your Fear
By Glenn Ligon
Located in New York, NY
Edition 52/325 of Glenn Ligon's My Fear is Your Fear. Showing at The Queer Show Part II.
Category

1990s New York - Prints and Multiples

Materials

Screen

Eye of the Storm, Surrealist Screenprint by Michael Knigin
By Michael Knigin
Located in Long Island City, NY
Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...
Category

1970s Pop Art New York - Prints and Multiples

Materials

Screen

EL PADRE DE LA PATRIA NUEVA
By Julio Larraz
Located in New York, NY
color monotpy of soldier on a horse with raised sword
Category

1990s Contemporary New York - Prints and Multiples

Materials

Monotype

'Blame Game' III, Silkscreen print on paper
By KAWS
Located in New York, NY
The ‘Blame Game' series by KAWS is an exceptionally rare collection of prints, with a total of ten in the portfolio series created in 2014. The KAWS motif has become instantly recogn...
Category

2010s Pop Art New York - Prints and Multiples

Materials

Paper, Screen

Acting Proud, Nude Art Giclee Print by Michael Knigin
By Michael Knigin
Located in Long Island City, NY
Michael Knigin, American (1942 - 2011) - Acting Proud, Portfolio: Vintage Nudes, Year: 2001, Medium: Giclee signed, numbered, dated, and titled in pencil, Edition: AP, Image Size...
Category

Early 2000s Pop Art New York - Prints and Multiples

Materials

Giclée

Maternité, Cubist Lithograph after Pablo Picasso
By Pablo Picasso
Located in Long Island City, NY
Pablo Picasso, After, Spanish (1881 - 1973) - Maternite, Portfolio: Marina Picasso Estate Lithograph Collection, Year: of Original: 1921 Year Printed: 1979-1982, Medium: Lithogra...
Category

1980s Cubist New York - Prints and Multiples

Materials

Lithograph

Lincoln Center Mostly Mozart, 25th Anniversary, Lithograph by Robert Motherwell
By Robert Motherwell
Located in Long Island City, NY
Robert Motherwell’s vibrant red lithograph features a collage-like composition with an intense contrast of black and red on top of sheet music. Lincoln Center Mostly Mozart...
Category

1990s Abstract Expressionist New York - Prints and Multiples

Materials

Lithograph

Lucille Fink, Girl with Flowers
By Lucille Fink
Located in New York, NY
Lucille Fink creates densely drawn compositions, often a little off-beat. Signed and titled. Dated on the reverse.
Category

Early 20th Century American Modern New York - Prints and Multiples

Materials

Lithograph

1920 League of Women Voters, Screenprint by Richard Anuszkiewicz
By Richard Anuszkiewicz
Located in Long Island City, NY
The 50th Anniversary of the League of Women Voters Screenprint Poster from 1970, designed by Richard Anuszkiewicz (1930 - 2020) printed in 1969,...
Category

1960s Op Art New York - Prints and Multiples

Materials

Screen

A Long Rifle Awaits, American Western Art Lithograph by Noel Daggett
By Noel Daggett
Located in Long Island City, NY
Noel Daggett, American (1925 - 2005) - A Long Rifle Awaits, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 17 x 26 inches, ...
Category

1970s American Realist New York - Prints and Multiples

Materials

Lithograph

Bring Back the Buffalo, American Western Art Lithograph by Noel Daggett
By Noel Daggett
Located in Long Island City, NY
Noel Daggett, American (1925 - 2005) - Bring Back the Buffalo, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 20, Image Size: 19 x 23 inche...
Category

1970s American Realist New York - Prints and Multiples

Materials

Lithograph

Untitled
By Josh Smith
Located in New York, NY
Josh Smith Untitled 2018 Xerox print (Edition of 50 + 10 APs) 11 x 8.5 inches
Category

2010s Abstract New York - Prints and Multiples

Materials

Paper, Ink

1998 After Barnett Newman 'Canto XIII'
By Barnett Newman
Located in Brooklyn, NY
Paper Size: 23.5 x 19.5 inches ( 59.69 x 49.53 cm ) Image Size: 19.25 x 17.25 inches ( 48.895 x 43.815 cm ) Framed: No Condition: A: Mint Additional Details: Not signed and not...
Category

1990s Contemporary New York - Prints and Multiples

Materials

Offset

Owen Weiri (also Wiiri), The Coal Miner
Located in New York, NY
Owen Weiri (also Wiiri, 1916-1974) was a Finnish-American who served in the Spanish Civil War and then, during World War ll, in the American armed forces as a marine. Industrial sub...
Category

1940s Ashcan School New York - Prints and Multiples

Materials

Etching, Aquatint

The Cat, Signed Modern Screenprint by Will Barnet
By Will Barnet
Located in Long Island City, NY
Artist: Will Barnet, American (1911 - 2012) Title: The Cat Year: 1997 Medium: Screenprint on Arches, signed in pencil Edition: AP Image Size: 16 x 7 inches Siz...
Category

1990s American Modern New York - Prints and Multiples

Materials

Screen

Untitled
By Jane Hammond
Located in New York, NY
Jane Hammond Untitled 1996 Signed and numbered Lithograph (Edition of 50) 12 x 9 inches
Category

1990s Contemporary New York - Prints and Multiples

Materials

Lithograph

Raymond Pettibon Supreme skate deck (Raymond Pettibon skateboard deck)
By Raymond Pettibon
Located in NEW YORK, NY
Raymond Pettibon Supreme Skateboard Deck 2014: Published in 2014 on the occasion of a collaboration between Raymond Pettibon and the iconic fashion lifestyle brand, Supreme. Makes fo...
Category

21st Century and Contemporary Pop Art New York - Prints and Multiples

Materials

Wood, Offset

Don't Walk unique trial proof signed and inscribed by famed photorealist artist
By Robert Cottingham
Located in New York, NY
Robert Cottingham Don't Walk, 1985 Three color Linoleum Cut on Paper Pencil signed, inscribed to Bryan and annotated TP Published by Chip Elwell Fine Prints Trial Proof (unique) This is a Trial Proof that Robert Cottingham inscribed, annotated and gifted to Bryan Konefsky, his longtime studio assistant in both Newtown, CT and Santa Fe New Mexico. Only one other example - a variant - of this early print, exists and is in the collection of the Smithsonian. Due to the untimely death of printer Chip Elwell in October of 1986, only two proofs in the woodcut medium were pulled: the present work, which Cottingham gifted to his longtime studio assistant, and the one at the Smithsonian. Furthermore and in another interesting turn of events, Elwell's studio was burglarized shortly after his death and among the items stolen were the original wood blocks for DON'T WALK. This is an historic work; and the only one available on the market. Measurements: Framed: 15 inches x 13.5 inches x .3 inches Artwork 12 inches x 10.5 inches Robert Cottingham Biography Robert Cottingham (b.1935, Brooklyn, NY) is recognised for his Photorealist paintings of American urban landscapes, particularly his depictions of painted and neon shop signs...
Category

1980s Photorealist New York - Prints and Multiples

Materials

Pencil, Linocut

1897 After Emile Berchmans 'L'Art Independant'
By Émile Berchmans
Located in Brooklyn, NY
Paper Size: 11.5 x 8.25 inches ( 29.21 x 20.955 cm ) Image Size: 7.75 x 6 inches ( 19.685 x 15.24 cm ) Framed: No Condition: A: Mint Additional Details: First printing Lithogr...
Category

19th Century Art Deco New York - Prints and Multiples

Materials

Lithograph

In the Fifth Season
By Gregory Amenoff
Located in New York, NY
Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...
Category

Late 20th Century Contemporary New York - Prints and Multiples

Materials

Woodcut

Into Red 3
By Ruth Adler
Located in New York, NY
ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Horse Laugh
By Alfred Bendiner
Located in New York, NY
Alfred Bendiner (1899-1964) was trained as an architect but worked as an artist throughout his career. He was a noted lithographer, as well an author, muralist, and caricaturist. The...
Category

Mid-20th Century American Modern New York - Prints and Multiples

Materials

Crayon

Untitled (Blue on Grey)
By Johan Van Oeckel
Located in New York, NY
ABOUT THIS PIECE: Colour, form, space and time are the main elements in the work of Johan Van Oeckel. In search for new compositions he always starts from small sketches based on fra...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Girl with Unicorn, Lithograph by Gina 'Jennie' Tomao Stephanopoulos
Located in Long Island City, NY
Girl with Unicorn Gina ’Jennie’ Tomao Stephanopoulos, American (1934–2011) Date: circa 1979 Lithograph, signed and numbered in pencil Edition of 300 Image...
Category

1970s New York - Prints and Multiples

Materials

Lithograph

Dame Tracey Emin, The Kiss Was Beautiful - gorgeous hand signed Limited Ed print
By Tracey Emin
Located in New York, NY
TRACEY EMIN The Kiss Was Beautiful, 2016 Digital print on 250 GSM Silk Finish Paper 27 1/2 × 19 3/5 inches Edition of 500 Boldly signed in white grease marker by Tracey Emin on the f...
Category

2010s Contemporary New York - Prints and Multiples

Materials

Permanent Marker, Digital

Ballpark, Silkscreen by Ralph Fasanella
By Ralph Fasanella
Located in Long Island City, NY
Artist: Ralph Fasanella, American (1914 - 1997) Title: Ball Park Year: 1974 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 250 Image: 25 x 37 inches Size...
Category

1970s Folk Art New York - Prints and Multiples

Materials

Screen

Doric Game IV, Abstract Screenprint by Evelyn B. Johnson
By Evelyn B. Johnson
Located in Long Island City, NY
Evelyn B. Johnson was an American Optical artist. Her work specialized in striking geometric abstract forms in bright colors whose shading mimics the effects of neon lighting. These ...
Category

1980s Op Art New York - Prints and Multiples

Materials

Screen

Soulages 'Composition, September 1951' 2015- Lithograph
By Pierre Soulages
Located in Brooklyn, NY
This limited edition print titled Composition, September 1951 by Pierre Soulages is produced on thick, high-quality paper and is hand-numbered 31 out of 150 in pencil. It features a ...
Category

2010s Modern New York - Prints and Multiples

Materials

Lithograph

Wear Your Love Like Heaven
Located in New York, NY
Sila Sehrazat Yucel is a talented artist based in Istanbul. Her background in landscape and interior architecture shapes her creative vision. With experience as an art director in ci...
Category

2010s Contemporary New York - Prints and Multiples

Materials

Archival Pigment

Stop Light Court 2
By Austin Bell
Located in New York, NY
ABOUT THIS PIECE: Hong Kong has the most basketball courts of any city in the world. This bold claim is difficult to verify, but in his Hong Kong Basketball Court series, Austin Bell...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Espace de l'Espece, Surrealist Lithograph by Roberto Matta
By Roberto Matta
Located in Long Island City, NY
This lithograph was created by Chilean artist Roberto Matta. Matta creates new dimensions in a blend of organic and cosmic lifeforms in a biomorphic style. He was one of the first ar...
Category

1970s Surrealist New York - Prints and Multiples

Materials

Lithograph

2000 Konrad Klapheck 'The Night Beauties' Pop Art Brown, Neutral, Silver Israel
By Konrad Klapheck
Located in Brooklyn, NY
Paper Size: 34.75 x 26.75 inches ( 88.265 x 67.945 cm ) Image Size: 34.75 x 26.75 inches ( 88.265 x 67.945 cm ) Framed: No Condition: A: Mint Additional Details: Dreaming with...
Category

Early 2000s New York - Prints and Multiples

Materials

Offset

Alexander Calder 'Three Legged Figure'
By Alexander Calder
Located in Brooklyn, NY
This first edition lithograph from Derrière le Miroir number 212 is a prime example of Alexander Calder's innovative approach to art. The three-legged figure in high heels reflect hi...
Category

1970s Modern New York - Prints and Multiples

Materials

Lithograph

Poster for Svayambh at the Royal Academy, London (hand signed by Anish Kapoor)
By Anish Kapoor
Located in New York, NY
Anish Kapoor Poster for Svayambh at the Royal Academy, London (hand signed by Anish Kapoor), 2009 Offset lithograph poster Boldly signed by Anish Kapoor on the lower right front 21 ×...
Category

Early 2000s Conceptual New York - Prints and Multiples

Materials

Lithograph, Offset

New York, Abstract Expressionist Lithograph by Josep Guinovart
By Josep Guinovart Bertrán
Located in Long Island City, NY
Artist: Jose Guinovart, Spanish (1927 - 2007) Title: New York Year: 1984 Medium: Lithograph, signed and numbered in pencil Edition: 99, EA Paper Size: 27 x 22 in. (68.58 x 55.88 cm)
Category

1970s Abstract Expressionist New York - Prints and Multiples

Materials

Lithograph

1972 'Baghdad' Hand Signed
By R.B. Kitaj
Located in Brooklyn, NY
Six color screen-print and photo-screenprint. Signed and numbered AP in pencil by Kitaj in the top right corner. Printed at Kelpra Studio, London and published by Marlborough Graphi...
Category

1970s Contemporary New York - Prints and Multiples

Materials

Screen

Katz 'Art Exhibit and Sale for the Passage of the Equal Rights Amendment' 1972
By Alex Katz
Located in Brooklyn, NY
This original 1972 poster by Alex Katz was created for an exhibition at Zabriskie Gallery, supporting the Passage of the Equal Rights Amendment (ERA). A striking example of Katz’s si...
Category

1970s Pop Art New York - Prints and Multiples

Materials

Offset

Learning Through Art, Limited Edition Poster by Keith Haring
By Keith Haring
Located in Long Island City, NY
Color lithograph fundraising poster for Learning Through Art/ The Guggenheim Museum Children's Program. Numbered out of 350 and dated in pencil. Blindstamped in bottom right corner. ...
Category

1990s Pop Art New York - Prints and Multiples

Materials

Lithograph

Hermit Crab Cup
By Ken Price
Located in New York, NY
Ken Price Hermit Crab Cup 1972 Silkscreen on paper Print: 28 x 22 inches; 71 x 56 cm Frame: 30 5/8 x 24 3/4 inches; 78 x 63 cm Edition of 60 Signed, title...
Category

1970s Contemporary New York - Prints and Multiples

Materials

Screen

Birds of Paradise (Yellow), Photorealist Lithograph by Lowell Blair Nesbitt
By Lowell Nesbitt
Located in Long Island City, NY
Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Birds of Paradise (Yellow) Lowell Blair Nesbitt, American ...
Category

1970s Photorealist New York - Prints and Multiples

Materials

Lithograph

Handwritten letter on American Indian Theme II card signed to CBS News cameraman
By Roy Lichtenstein
Located in New York, NY
Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...
Category

1980s Pop Art New York - Prints and Multiples

Materials

Ink, Postcard

Horns Of Plenty, Pop Art Screenprint by Hunt Slonem
By Hunt Slonem
Located in Long Island City, NY
Artist: Hunt Slonem, American (1951 - ) Title: Horns Of Plenty Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: AP 30 Image Size: 24 x 23.5 inches Size: 28...
Category

1970s Contemporary New York - Prints and Multiples

Materials

Screen

Jeremiah - Our Historical Heritage, Signed Surrealist Etching by Salvador Dali
By Salvador Dalí­
Located in Long Island City, NY
Artist: Salvador Dali Portfolio: Our Historical Heritage Title: King Saul Year: 1975 Medium: Intaglio Etching and Color Pochoir on Arches Paper, signed and numbered in pencil Edition...
Category

1970s Modern New York - Prints and Multiples

Materials

Etching, Intaglio

If Series: Space Place, Screenprint by Peter Max
By Peter Max
Located in Long Island City, NY
If Series: Space Place Peter Max, German/American (1937) Date: 1981 Screenprint, signed and numbered in pencil Edition: A/P Size: 10 in. x 14 in. (25.4 cm x 35.56 cm) Frame Size: 16....
Category

1980s Pop Art New York - Prints and Multiples

Materials

Screen

Le Vermoulu et le Plisse, Surrealist Etching by Hans Bellmer
By Hans Bellmer
Located in Long Island City, NY
Hans Bellmer, German (1902 - 1975) - Le Vermoulu et le Plisse, Year: 1940, Medium: Etching on Arches, signed in pencil, Image Size: 7 x 9 inches, Size: 11 x 15 in. (27.94 x 38.1 cm)...
Category

1940s Surrealist New York - Prints and Multiples

Materials

Etching

Poema visual
By Joan Brossa
Located in New York, NY
Lithograph on paper (Edition of 25) Signed in pencil, l.r. Numbered in pencil, l.l. This print is offered by ClampArt, located in New York City. Joan Brossa (1919-1998) was a Cata...
Category

1980s Post-Minimalist New York - Prints and Multiples

Materials

Lithograph

Paper Highways Dos
By Maria Piessis
Located in New York, NY
ABOUT THIS ARTIST: Maria Piessis is a multimedia artist based in NYC and Paris. She is always playing somewhere in the endless universe where photography, art and design meet. She ha...
Category

2010s New York - Prints and Multiples

Materials

Photographic Paper

Basquiat Skateboard deck 2018 (Basquiat skate deck)
By Jean-Michel Basquiat
Located in NEW YORK, NY
Jean-Michel Basquiat Skateboard Deck: Limited edition skate deck licensed by the Estate of Jean Michel Basquiat in conjunction with Artestar in 2018, featuring the much iconic early ...
Category

2010s Contemporary New York - Prints and Multiples

Materials

Wood, Screen

Roosters, Signed Impressionist Lithograph by Amos Yaskil
By Amos Yaskil
Located in Long Island City, NY
Roosters Amos Yaskil Israeli (1935) Date: circa 1970 Lithograph, signed and numbered in pencil Edition of 375 Image Size: 18.5 x 14 inches Size: 26.5 x 20 in. (67.31 x 50.8 cm)
Category

1970s Impressionist New York - Prints and Multiples

Materials

Lithograph

Bal du Moulin Rouge, Paris, Art Nouveau Lithograph Poster by Rene Gruau
By René Gruau
Located in Long Island City, NY
Artist: Rene Gruau, Italian (1909 - 2004) Title: Bal du Moulin Rouge, Paris (Frou Frou) Medium: Lithograph Poster Size: 23 in. x 15 in. (58.42 cm x 38.1 cm)
Category

1960s Modern New York - Prints and Multiples

Materials

Lithograph

MISFITS Marilyn Monroe Clark Gabel Arthur Miller Caricature Movie Star Legends
By Albert Al Hirschfeld
Located in New York, NY
MISFITS Marilyn Monroe Clark Gabel Arthur Miller Caricature Movie Star Legends Al Hirschfeld (American, 1903 - 2003) 21" x 27" sheet "Misfits", 1999 Litho...
Category

1980s Performance New York - Prints and Multiples

Materials

Lithograph

Nudes in bathtub, signed lithograph edition of only 19 legendary realist artist
By Philip Pearlstein
Located in New York, NY
Philip Pearlstein Untitled Nudes in bathtub, ca. 1971 Lithograph on paper with Deckled Edges Numbered from the limited edition of only 19. Unframed Hand signed in graphite pencil and...
Category

1970s Realist New York - Prints and Multiples

Materials

Lithograph

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