A New Perspective:
Lithograph in colors on wove paper, 1976 Sheet Size: 35 1/4” x 24 1/2” inches Signed and numbered 9/125 in pencil, lower right Printed by the Rainbow Art Foundation, New York A very good impression of this scarce print.
artists of the post-war era works on paper
Willem de Kooning donated this image titled “Devil on a Keyboard” to the Rainbow Art Foundation in June 1976. The Rainbow Art Foundation is an organization which helps young and new printmakers. The R.A.F. has informed us that this is indeed a historical piece since de Kooning himself worked on it. The image was made into a nine color lithograph print in an edition of 70 signed and numbered prints. De Kooning then added the word Rainbow to the image and signed and numbered 125 pieces which is this edition.
Winter 2020 Naples gallery
Willem de Kooning Devil at the Keyboard (Thelonius Monk) (9/125), 1976
Lithograph in colors on wave paper 35.25 x 24.50 in $12,500.00
Willem de Kooning Devil at the Keyboard (Thelonius Monk) (9/125), 1976 Lithograph in colors on wove paper Sheet Size: 35 1/4” x 24 1/2” inches Signed and numbered 9/125 in pencil, lower right Printed by the Rainbow Art Foundation, New York A very good impression of this scarce print. Willem de Kooning donated this image titled “Devil on a Keyboard” to the Rainbow Art Foundation in June 1976. The Rainbow Art Foundation is an organization which helps young and new printmakers. The R.A.F. has informed us that this is indeed a historical piece since de Kooning himself worked on it. The image was made into a nine color lithograph print in an edition of 70 signed and numbered prints. De Kooning then added the word Rainbow to the image and signed and numbered 125 pieces which is this edition.
Jim Dine Self Portrait: The Landscape (40/75), 1969
Lithograph in colors on Hodgkinson paper 53 x 37.50 in $19,500.00
Jim Dine Self Portrait: The Landscape (40/75), 1969 Lithograph in colors on Hodgkinson paper 53 x 37-1/2 inches (134.6 x 95.3 cm) (sheet) Signed, dated, and numbered in pencil lower left Dine is inspired by the power of simple images to be both familiar and symbolic. His repetitions of tools, bathrobes, or hearts are easily understood by the viewer, while also suggesting deeper layers of meaning. He often works with subjects and images from his childhood, giving his work both a sense of innocence and shared nostalgia. Jim Dine has created a vocabulary out of subjects that have a child-like appeal, such as tools, birds, and hearts. These personally nostalgic symbols are also commonplace and universal, creating work that is both autobiographical and open to interpretation.
Jim Dine Two Hearts at Sunset (68/200), 2005
Lithograph in colors on wove paper 20.50 x 26.25 in $9,500.00
Jim Dine Two Hearts at Sunset (68/200), c. 2005 Lithograph in colors on wove paper Sheet Size: 20.5” x 26.25” Signed and dated in white pencil, lower margin This impression 68 from the edition of 200 signed and numbered by artist. Dine began using the heart in his work in 1970 and 1971, taking a ten year hiatus from the imagery soon after. He resumed using hearts again in the early 1980s. This recent iteration is rendered in vibrant tones of blue, yellow, red, and black. The hearts appear to float over a black and yellow background, creating a two-dimensional image. This image exemplifies the artist’s love of color.
Jim Dine The Blue Heart, from 2005 Suite (70/200), 2005
Lithograph in colors on wove paper 26.25 x 20.25 in $15,000.00
Jim Dine The Blue Heart from 2005 Suite (70/200), 2005 Lithograph in colors on wove paper Sheet Size: 26.25� x 20.25� Signed and dated in white pencil, lower margin. This impression 70 from the edition of 200 signed and numbered by artist. Fresh Bright Colors, Full Margins. Dine began using the heart in his work in 1970 and 1971, taking a ten year hiatus from the imagery soon after. He resumed using hearts again in the early 1980s. This recent iteration is rendered in vibrant tones of green, blue, yellow. The heart and background having the same patterning are only distinguishable by the break in the pattern revealing the heart shape, making seem recessed.
Sam Francis Surrounded White (SF 58) (23/35), 1964
Lithograph in colors on Rives BFK paper 35.50 x 24.50 in $7,950.00
Sam Francis Surrounded White (SF 58) (23/35), 1964 Lembark 75 Lithograph in colors on Rives BFK paper Sheet Size 35 1/2� x 24 5/8� Signed in pencil, lower right This impression is 23 from the edition of 35 signed and numbered by artist Fresh Bright Colors, Full Margins His experiments with borders and the containment of washes of color would inform his work for decades, as he became increasingly concerned with the differences between solids and voids, boundaries and fields. Native Californian painter and printmaker, Sam Francis is most noted for his use of dynamic forms saturated with intense color amidst spaces of white.
Sam Francis Untitled, Plate 7 from The Pasadena Box Series (56/100), 1964
Lithograph in colors on Rives BFK paper 11.25 x 15 in $7,500.00
Sam Francis Untitled, Plate 7 from The Pasadena Box Series (56/100), 1964 Lembark 63 Lithograph in colors on Rives BFK paper Sheet Size 11 1/4� x 15� Signed in pencil, lower left This impression is 56 from the edition of 100 signed and numbered by artist. With the Pasadena Art Museum blindstamp, California His experiments with borders and the containment of washes of color would inform his work for decades, as he became increasingly concerned with the differences between solids and voids, boundaries and fields. Native Californian painter and printmaker, Sam Francis is most noted for his use of dynamic forms saturated with intense color amidst spaces of white.
Helen Frankenthaler Flirt (7/126), 2003
Silkscreen in colors 26.87 x 39.25 in $29,500.00
Helen Frankenthaler Flirt (7/126), 2003 Silkscreen in colors Image Size: 26 7/8” x 39 4”, Signed by the artist and numbered in lower margin This impression 7 from the edition of 126. Fresh bright colors, full margins. Helen Frankenthaler gained fame with her invention of the color-stain technique— applying thin washes of paint to unprimed canvas—in her iconic Mountains and Sea (1952), a motivating work for Morris Louis, Kenneth Noland, and other Color Field painters who emerged in the ’60s. Her own canvases, however, often evoked elements of landscape or figuration in the shaping of their forms. “My pictures are full of climates, abstract climates,” she once said. “They’re not nature per se, but a feeling.”
Robert Indiana LOVE, (German Love) (35/100), 1968
Screenprint in colors 22 x 22 in $27,500.00
Robert Indiana LOVE, (German Love) (35/100), 1968 Screenprint in colors Image Size: 22” x 22” Signed, dated, and numbered in lower margin Impression 35 of an edition of 100. Published by Rolf-Gunter Dienst, Germany: Printed by Domberger KG, Stuttgart Robert Indiana is one of the most recognized names in Contemporary and Pop Art, his LOVE sculptures, paintings, and prints are by far his most iconic pieces. It all began in the summer of 1965, when The Museum of Modern Art commissioned Indiana to design its Christmas card. Indiana’s LOVE motif has since been translated into a US postage stamp as well as numerous large-scale steel sculptures across the world.
Alex Katz Purple Hat (77/125), 2017
Archival pigment inks on crane, Museo Max 46 x 21 in $22,000.00
Alex Katz Purple Hat (77/125), 2017 Archival pigment inks on crane, Museo Max, white 365 GSM paper Sheet Size: 46” x 21” Signed in pencil in lower margin, impression 77 of an edition of 125. Artist Proofs 25 Printed and published by Lococo Fine Art Publisher, St. Louis. In the early 1960s, Alex Katz was influenced by films, television, and billboard advertising, he began painting large-scale paintings, often with dramatically cropped faces. At the beginning of the new millennium, Katz’s work continues to grow and evolve today. Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. His works can be found in over 100 public collections worldwide, including The Whitney Museum, MoMA, NYC, the Smithsonian, Washington DC, the Tate Gallery, London, the Art Institute of Chicago among others.
Alex Katz Black Scarf (51/75), 1996
Screenprint in colors on Arches paper 43.25 x 31 in $27,500.00
Alex Katz Black Scarf (51/75), 1996 Screenprint in colors on Arches paper Sheet Size: 43 1⁄4” x 30 7/8” Signed in pencil in lower margin Edition 51 or 75 In the early 1960s, Alex Katz was influenced by films, television, and billboard advertising, he began painting large-scale paintings, often with dramatically cropped faces. At the beginning of the new millennium, Katz’s work continues to grow and evolve today. Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. His works can be found in over 100 public collections worldwide, including The Whitney Museum, MoMA, NYC, the Smithsonian, Washington DC, the Tate Gallery, London, the Art Institute of Chicago among others.
Alex Katz 10:30 AM (58/60), 2017
Limited Edition Lithograph 55 x 74 in $25,000.00
Alex Katz 10:30 AM (58/60), 2017 Limited Edition Lithograph Sheet Size: 55” x 74” In the early 1960s, Alex Katz was influenced by films, television, and billboard advertising, he began painting large-scale paintings, often with dramatically cropped faces. At the beginning of the new millennium, Katz’s work continues to grow and evolve today. Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. His works can be found in over 100 public collections worldwide, including The Whitney Museum, MoMA, NYC, the Smithsonian, Washington DC, the Tate Gallery, London, the Art Institute of Chicago among others.
Alex Katz Ariel (14/40), 2016
Limited Edition Lithograph 36 x 76 in $19,000.00
Alex Katz Ariel, 2016 (14/40) Limited Edition Lithograph Sheet Size: 36” x 76” In the early 1960s, Alex Katz was influenced by films, television, and billboard advertising, he began painting large-scale paintings, often with dramatically cropped faces. At the beginning of the new millennium, Katz’s work continues to grow and evolve today. Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. His works can be found in over 100 public collections worldwide, including The Whitney Museum, MoMA, NYC, the Smithsonian, Washington DC, the Tate Gallery, London, the Art Institute of Chicago among others.
Alex Katz Sissel (VIII/XX), 2006
Aquatint in colors 11 x 16 in $11,500.00
Alex Katz Sissel (VIII/XX), 2006 Aquatint in colors Signed in pencil in lower margin Image Size: 11” x 16” Sheet Size: 20” x 23” Edition VIII/XX: 50 Arabic numerals, 20 Roman numerals Printed by Giancarlo Sardella, Milano and Pesaro; Published by Galleria Fabjbasaglia, Rimini In the early 1960s, Alex Katz was influenced by films, television, and billboard advertising, he began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut.
Sol LeWitt Arcs from Four Corners (31/200), 1986
Woodcut in colors on Echizen Torinoko paper 23 x 32.50 in $12,500.00
Sol LeWitt Arcs from Four Corners (31/200), 1986 Woodcut in colors on Echizen Torinoko paper 22-7/8 x 32-3/8 inches Signed, numbered, and titled in pencil along lower edge, with publisher’s blindstamp Published by Crown Point Press, San Francisco Krakow, 1986.01 Sol LeWitt was born in 1928 in Hartford, Connecticut to Eastern European immigrants. Sol LeWitt earned a place in the history of art for his leading role in the Conceptual movement. His belief in the artist as a generator of ideas was instrumental in the transition from the modern to the postmodern era. Conceptual art, expounded by LeWitt as an intellectual, pragmatic act, added a new dimension to the artist’s role that was distinctly separate from the romantic nature of Abstract Expressionism. LeWitt believed the idea itself could be the work of art.
Robert Motherwell Untitled, from the Basque Suite (P.P. I/IV), 1971
Screenprint in colors on J.B. Green paper 41 x 28.25 in $13,500.00
Robert Motherwell Untitled, from the Basque Suite (P.P. I/IV), 1971 Screenprint in colors on J.B. Green paper Sheet size: 41� x 28.25� Impression P.P. I/IV (aside from an edition of 150) Numbered and signed in pencil, lower right Published Marlborough Graphics Inc., New York Printed by Kelpra Studio, London American painter, Robert Motherwell, was one of the founders and principal exponents of Abstract Expressionism, who was among the first American artists to cultivate accidental elements in his work.
James Rosenquist 1-2-3 Outside (33/70), 1972
Lithograph with embossing in colors on wove paper 31 x 20.25 in $2,500.00
James Rosenquist 1-2-3 Outside (33/70), 1972 Lithograph with embossing in colors on wove paper Image Size: 31” x 20 1⁄4” Sheet Size: 40 1⁄2” x 30 1⁄2” Signed, numbered, dated, and titled in pencil lower margin, publisher’s blindstamp Printed by artist and Maurice Sanchez James Rosenquist, born in 1933 in Grand Forks, North Dakota, is one of the most important American artists of our time. In 1955 Rosenquist left the Midwest for New York City, where he received his artistic training at the Art Students League amidst the popularity of Abstract Expressionism and artists such as Willem de Kooning. His works of the 1960s and 1970s are pictorial critiques of contemporary American culture and he is considered a pioneer of the Pop Art movement along with fellow artists Robert Rauschenberg, Jasper Johns, Andy Warhol and Roy Lichtenstein. Rosenquist’s paintings since the 1970’s have retained his trademark aesthetic and focus primarily on geo-political, existential and environmental themes.
James Rosenquist For the Young Artist (AP 10/20), 1991
Screenprint in colors on wave paper 35 x 36 in $3,500.00
James Rosenquist For the Young Artist (AP 10/20), 1991 Screenprint in colors on wove paper Sheet Size: 35” x 36” Signed, numbered, dated and titled in pencil in lower margin, publisher blindstamp AP 10/20 (aside from an edition of 80) Published by Tyler Graphics, Mount Kisco, New York Literature: Glenn 226 Rosenquist’s paintings since the 1970’s have retained his trademark aesthetic and focus primarily on geo-political, existential and environmental themes. The work of James Rosenquist is represented in major private and public collections worldwide, including the Metropolitan Museum of Art, the Los Angeles Museum of Contemporary Art and the Tate Modern in London. Aside from his many gallery and museum exhibitions, James Rosenquist has had more than fifteen retrospectives, with two at the Whitney Museum of American Art. In 2003- 2004 the Guggenheim Museum organized a retrospective that traveled to Houston, New York, Bilbao and Wolfsburg. His 2009 autobiography Painting Below Zero: ‘Notes on a Life in Art’ is a bestseller.
Donald Sultan Five Reds (10/60), 2002
Screenprint in colors with black flocking on Somerset paper 30 x 38 in $17,500.00
Donald Sultan Five Reds (10/60), 2002 Screenprint in colors with black flocking on Somerset paper Sheet Size: 30” x 38”, full margins. Impression 10 from the edition of 60 Initialed Numbered and dated along edges Published by Artworks Gallery, Pasadena, California Often Sultan’s works are very architectural and bold, but the imagery is very accessible, soft, and even fragile. Using tar black as strong statement, and in many of his works it acts a contrast of positive and negative space, highlighting the subjects of the paintings. Sultan’s works are often classified as still life’s because of his use of flowers, lemons, buttons etc., but he maintains that his work is abstract. The New York Times, art critic Roberta Smith wrote, “Mr. Sultan is nothing if not a master of physical density, of the well- built image and the well- carpentered painting. He seems particularly to love the way an implacable slab of material can be made to flip-flop into classically perfect, illusionistic form...”
Donald Sultan Untitled from Visual Poetics (139/395), 1998
Serigraph in color 22 x 17 in $3,950.00
Donald Sultan Untitled from Visual Poetics (139/395), 1998 Serigraph in color Sheet Size: 22” x 17”, full margins. Impression 139 from the edition of 395 Initialed and numbered in lower margin, with publisher’s blind stamp Often Sultan’s works are very architectural and bold, but the imagery is very accessible, soft, and even fragile. Using tar black as strong statement, and in many of his works it acts a contrast of positive and negative space, highlighting the subjects of the paintings. Sultan’s works are often classified as still life’s because of his use of flowers, lemons, buttons etc., but he maintains that his work is abstract. The New York Times, art critic Roberta Smith wrote, “Mr. Sultan is nothing if not a master of physical density, of the well- built image and the well-carpentered painting. He seems particularly to love the way an implacable slab of material can be made to flip-flop into classically perfect, illusionistic form...”
Victor Vasarely ME-TA from Bach (76/200), 1965
silkscreen 20.75 x 19 in $3,500.00
Victor Vasarely ME-TA from Bach (76/200), 1965 Silkscreen Image size: 20 3⁄4” x 19” Signed and numbered in ink Edition number 76 of 200 Victor Vasarely was a French-Hungarian artist credited as the father of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. After settling in Paris in 1930, Vasarely worked as a graphic artist while creating many proto-Op Art works, the artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940’s before arriving at his hallmark checkerboard works. Vasarely died at the age of 90 in Paris, France. Victor Vasarely is internationally recognized as one of the most important artists of the 20th century. Vasarely is the acknowledged leader of the Op Art movement, and his innovations in color and optical illusion have had a strong influence on many modern artists.
Victor Vasarely Multicolored Losanges (17/250), c. 1980
Serigraph in colors 27 x 24 in $3,950.00
Victor Vasarely Multicolored Losanges (17/250), c. 1980 Serigraph in colors Sheet size: 27 1/8” x 24” full margins Signed and numbered 17/250 in pencil, lower margin. Victor Vasarely was a French-Hungarian artist credited as the father of the Op Art movement. Utilizing geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. After settling in Paris in 1930, Vasarely worked as a graphic artist while creating many proto-Op Art works, the artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940’s before arriving at his hallmark checkerboard works. Vasarely died at the age of 90 in Paris, France. Victor Vasarely is internationally recognized as one of the most important artists of the 20th century. Vasarely is the acknowledged leader of the Op Art movement, and his innovations in color and optical illusion have had a strong influence on many modern artists.
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oil on canvas 5 x 5 inches $1,000