Master Prints by Andy Warhol and Roy Lichtenstein by coskunfineart

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ANDY WARHOL 1928 - 1987 Alexander the Great 1982 From the portfolio of two screenprints on Lenox Museum Board, 39.5 x 39.5 inches (100.3 x 100.3 cm). Edition: 25, 5 AP, 1 PP, signed and numbered in pencil lower right. Printer: Rupert Jasen Smith, New York Publisher: Alexander Iolas, New York LITERATURE: Feldman & Schellmann II.292 NOTES: Published in cooperation with the Hellenic Heritage Foundation. Based on a Hellenistic bronze bust in a private Swiss collection. The Hellenic Heritage Foundation is a non-profit organization dedicated to the preservation and advancement of Greek culture. Stamped in red on verso, ÂŠ Andy Warhol 1982. The prints were created to coincide with "The Search for Alexander" exhibition at the Metropolitan Museum of Art, New York, October 27, 1982 - January 3, 1983. The exhibition had opened at the National Gallery of Art, Washington D.C. in November 1980, and traveled to Chicago, Boston, and San Francisco through May 1982. Bears the printer's chop mark. Warhol made paintings of this subject.

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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.