IMPORTANT PRINTS AND MULTIPLES BY WARHOL AND LICHTENSTEIN by coskunfineart

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IMPORTANT PRINTS & MULTIPLES | JUNE 2019

ROY LICHTENSTEIN 1923-1997 Nude Reading 1994 Relief print on Rives mold-made paper From the Nudes series Sheet: 30⅝ x 36 5/16” (77.8 x 92.3) Image: 23 15/16 x 30⅜” (60.7 x 77.1) Inscriptions: Numbered, signed (rf Lichtenstein) and dated (’94) in pencil lower right. Blind stamp lower right: (Tyler Graphics Ltd chop). Workshop number on verso in pencil, lower left (RL94-3102) Edition: 60; plus 12 AP, 1 RTP, 1 PPL, 1 PPII, 1 PPIII, 1 TGLimp, 1 A, 1 C Publisher: Tyler Graphics Ltd, Mount Kisco, New York Printer: Tyler Graphics Ltd, Mount Kisco, New York LITERATURE: Cohen-Tyler (1994) Catalogue Raisonné Corlett 288 (Page 259) Lichtenstein began working on collages for the Nudes series in his New York studio during the spring of 1993. In December of that year he hand-cut the Rubylith stencils for the key (outline) relief plates for each image, and in February 1994 he made his first visit to the workshop for this project. Most of the plates used to print the series were assembled using an aluminium or in some cases Lexan – a rigid, thick plastic – base plate on which were mounted the irregularly shaped photopolymer plastic pieces that created the image areas. The key (outline) plates, with one exception, were made of an irregularly shaped magnesium plate mounted onto a base plate. (For one key plate, the irregularly shaped plate was made of plastic.) Based on “love” and “girl” comic-book illustrations, not live models, these were the artist’s first images of the subject. Soon thereafter he explored the theme in his painting. The series, which consists of six images and three states, also contains iconographic references to others of his earlier works: the Mirrors, Imperfects, Waterlilies, and Interiors. Lichtenstein had often before used variable-sized dots in his images, but the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is “a good excuse to contrast undulating volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.

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ROY LICHTENSTEIN (1923-1997) Two Nudes 1994 Relief print on Rives BFK mold-made paper From the Nudes series Sheet: 48 1/16 x 41 3/16” (122.1 x 104.7) Image: 41⅝ x 35 1/16” (105.8 x 89.1) Inscription: Numbered, signed (rf Lichtenstein) and dated (’94) in pencil, lower right. Blind stamp, lower right: (Tyler Graphics Ltd, chop). Workshop number on verso in pencil, lower left (RL93-3103) Edition: 40; plus 12 AP, 1 RTP, 1 PPI, 1 PPII, 1 TGLimp. 1 A, 1 C

Publisher: Tyler Graphics Ltd, Mount Kisco, New York Printer: Tyler Graphics Ltd, Mount Kisco, New York LITERATURE: Cohen-Tyler (1994) Catalogue Raisonné Corlett 284 (Page 256)

Lichtenstein began working on collages for the Nudes series in his New York studio during the spring of 1993. Based on “love” and “girl” comic-book illustrations, not live models, these were the artist’s first images of the subject. Soon thereafter he explored the theme in his painting. The series, which consists of six images and three states, also contains iconographic references to others of his earlier works: the Mirrors, Imperfects, Waterlilies, and Interiors. Lichtenstein had often before used variable-sized dots in his images, but the dots in the Nudes series have a new characteristic, creating an undulation of light and space by flowing over several objects at a time, rather than being contained within the boundaries of a single object or outline. The dots function as both a two-dimensional pattern (overlay) and as a suggestion of three-dimensional space and form. Lichtenstein is quoted in a newspaper article in November 1994 as having said that the nude form itself is “a good excuse to contrast undulating volumetric form with rigid geometry.” This same contrast of undulation and rigidity can be seen in the dot patterns themselves, which cause the picture space seemingly to undulate forward and away from the picture plane, while at the same time each dot is a precise geometric circle.