And now for something completely different: women seen by men (expanded version).
Top row: Mel Ramos ((American, b. 1935), "Wonder Woman." Original color lithograph, 1981. 250 signed and numbered impressions. Ramos is one of the best known of the POP artists specializing in exploring the commercialization of the female image via comic book figures and advertising. Published by Atelier Dumas (NY). For more information, see Robert Rosenblum, "Mel Ramos" (Cologne, London, Paris, NY: Taschen Boks, 1997). Image size: 480x455mm. Mat size: 30x24 inches. Price: Please call or email for current pricing information.

Center row left: Richard Lindner, (American, 1901-1978), “Red Head.” Original color lithograph, c. 1964. 120 signed & numbered impressions. A drawing related to this lithograph is illustrated in "Homage to Richard Lindner" (NY & Paris, 1980), p. 41. See also Werner Spies, "Lindner" (Paris: Maeght, n.d.), & Judith Zilczer, "Richard Lindner: Paintings and Watercolors 946-1977 (Washington D.C.: Hirschhorn Museum, 1996). Image size: 738x567mm. Mat size: 36x28 inches. Price: Please call or email for current pricing information.

Center row center: Philip Pearstein (American, b. 1924), "Nude on iron bench" (Field 60). Original aquatint & lift-ground etching, 1975. 50 signed & numbered impressions on handmade Twinrocker Mill paper from one plate in brown ink for the Landfall Press Etching Portfolio; there were also 25 impressions signed and numbered in Roman numerals, of which ours is n. II/XXV. One of Pearlstein's most important prints, it is illustrated on the front and rear endpaper's of Field's catalogue raisonné. Image size: 457x610mm. Mat size: 24x30 inches. Price: Please call or email for current pricing information.

Center row right” Lester Johnson (American, 191902010), “Group Scene.” Original color lithograph, 1979. 175 signed and numbered impressions, of which this is n. 131/175. Johnson once said that "there is no balance in my paintings because balance seems to me to be static. Life, which I try to reflect . . . is dynamic. . . . To me, my paintings are action paintings . . . that move across the canvas . . . that do not get stuck, but flow like time." Image size: 730x540mm. Mat size: 36x28, Price: Please call or email for current pricing information.

Bottom row left: George Segal (American, 1924-2000), “Figure study,” Original color lithograph, 1979. 100 signed & numbered impressions published by Ediciones Poligrafa, Barcelona. Segal, a sculptor, was one of the Post-Pop American figurative artists. Although Segal was best known for his sculptures and 3D paper compositions, he also made a number of prints both during his Pop days and after. Image size: 760x560mm. Mat size: 36x38. Price: Please call or email for current pricing information.

Bottom row center: Mel Ramos ((American, b. 1935), "Del Monte Catsup." Original color lithograph, 1975. 2500 numbered impressions for an exhibition in Zurich. Our impression pencil signed. An unsigned impression of this print sold at auction last year for Please call or email for current pricing information plus commission, for a total of about Please call or email for current pricing information. One of Ramos's most typical Pop images. combining pin-up culture with commercial advertising. Image size: 780x635mm. Mat size: 40x32 inches. Price:

Bottom row right: George Segal (American, 1924-2000), “Woman resting against a chair.” Original color lithograph, 1979. 100 signed & numbered impressions published by Ediciones Poligrafa, Barcelona. Segal, a sculptor, was one of the Post-Pop American figurative artists. Although Segal was best known for his sculptures and 3D paper compositions, he also made a number of prints both during his Pop days and after. Image size: 760x560mm. Mat size: 36x38. Price: Please call or email for current pricing information.

Floor left: Judy Chicago (American, b. 1939), “Old.” Original lithograph and etching, 2013. In the text surrounding the naked figure is an angry and triumphant disquisition upon age; in the mouth of the woman standing in her birthday suit, shaped to fir the curvature of the mouth, is the word “OLD.” 118 signed and numbered impressions for the members of the Madison Print Club and one each for the Chazen Museum of Art (of the University of Wisconsin, Madison) and the Madison Museum of Contemporary Art. There were also 20 artist's proofs, one RTP proof, 2 printer's proofs, all on Mullberry-chine colle on a support sheet of BFK RIves Grey. Image size: 760x560mm. Price: Please call or email for current pricing information. Special price during our ongoing exhibition of original prints, drawings, and paintings by American artists from Abstraction to the present: Please call or email for current pricing information.

Floor center: Philip Pearlstein (American, b. 1924), "Models and Horses." Original color lithograph, 1992. 120 signed and numbered impressions for the Madison Print Club, 2 of which went to the Chazen Museum of Art at the University of Wisconsin Madison and the Madison Museum of Contemporary Art. Pearlstein has been acclaimed as one of the important modernist masters of the figure. His prices have begun rising rapidly in keeping with both his age and his critical reputation. Rare except among the membership of the Madison (WI) Print Club. Image size: 525x712mm. Mat size: 28x36 inches. Price: Please call or email for current pricing information.

Floor right: Lester Johnson (American, 191902010), “Street Scene.” Original color lithograph, 1979. 175 signed and numbered impressions, of which this is n. 131/175. Johnson once said that "there is no balance in my paintings because balance seems to me to be static. Life, which I try to reflect . . . is dynamic. . . . To me, my paintings are action paintings . . . that move across the canvas . . . that do not get stuck, but flow like time." Image size: 730x540mm. Mat size: 36x28, Price: Please call or email for current pricing information.

Lurking murkily in the shadow at lower right on the floor is Jack Beal's Blacksmith (an original serigraph printed on chanvre Canson and Montgolfier Ingres with Bill Weege at the Jones Road Print Shop and Stable Jones Road Shop and Stable in an edition of 20 impressions (of which ours is n. 1/20) and 3 artist's proofs. Provenance: Bill Weege. Image size: 650x500mm. Mat size: 30x24 inches. Price: Please call or email for current pricing information.

Now we come to the origins of POP Art:

Top Right: Roy Lichtenstein (American, 1923-1997), Against Apartheid. Original color silkscreen, 1983. Published by Galerie Maeght-Lelong, Paris. Edition unknown. This silkscreen is part of a series, “15 artistes contra l'aparthied.” There was also a signed and numbered avant-lettre edition of 100. Image size: 850x605mm. Price: Please call or email for current pricing information.

Top center: Roy Lichtenstein (American, 1923-1997), CRAK! (Corlett 11.2.c). Offset lithograph, 1963. Edition unknown. Printed, according to the text below the image, for Lichtenstein's breakout show: "Leo Castelli 4 E. 77 NY September 28-October 24 1963." According to the late Professor Wayne Taylor of the University of Wisconsin–Madison Art Department who was there, after the show, Lichtenstein cut off the printed text (still present on our impression) and signed 300 of the remaining impressions of the poster. Printed on thin wove paper. Rich unfaded colors, overall very good condition. One of the classic defining POP images. In July 2005, we received a catalogue for a Lichtenstein show in London by the very reputable Sims-Reed Gallery listing the poster-announcement version of "Crying Girl." They were asking £4000 (then about Please call or email for current pricing information). Sheet size: 536x722mm. Image size: 471x681mm. Mat size: 28x36 inches. Price: Please call or email for current pricing information.

Top Left: Jim Dine (American, b, 1935), Whitney Museum Poster (Mikro 73). Original color lithograph,1969. 350 signed & numbered impressions + 1000 unsigned impressions. A very fresh example of this important work (signed impressions sell for up to Please call or email for current pricing information), here used as a kind of trademark impression for this major retrospective. In Dine's work, the heart refers to his wife, Nancy. Image size: 755x551mm. Price: Please call or email for current pricing information.

Bottom row: Roy Lichtenstein (American, 1923-1997), As I Opened Fire (Triptych) (Corbett App. 5). Offset lithograph, 1964. 3000 impressions published by the Stedelijk Museum, Amsterdam, the owners of the painting, with Lichtenstein's authorization. A classic Pop image. Only sold as a set. Image size: 638x527mm (each piece). Mat size: 36x28 inches. Set price: Please call or email for current pricing information.

On the floor: Allen Jones (British, b. 1937), Por les lèvres / For the lips (Lloyd 30). Original 9-color serigraph, 1965. 200 signed & numbered impressions plus 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, 11 Pop Artists III. Jones was one of the most necessary of the founding fathers of Pop Art in spreading the imagery of Pop Art beyond the walls of galleries and museums. While he was in the U.S. in 1965 he contributed original lithographs to the first Pop Art publishing event, the 3 portfolios (large, very large, and really, really large) of 11 Pop Artists, each of which included one of his works (along with Dine, Warhol, Lichtenstein, Wesselman, Rosenquist, Ramos, Alan D'Arcangelo, John Wesley, Peter Phillips, and Gerald Laing), 6 Americans and 3 Brits, testifying to Anglo-American origins of POP). In addition to his fine art, he was also active in designing settings for the theater, ballet, and film (including Blow Up and A Clockwork Orange). Illustrated in Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art. Image size: 769x590mm. Mat size: 40x32 inches. Price: Please call or email for current pricing information.

Top row left: Larry Rivers (American, 1923-2002), “Camel Quartet.” Original color lithograph & screenprint, 1978-90. 50 signed and numbered impressions. Printed by Styria Studios & published by Marlborough Graphics. Rivers was one of the first Pop Artists. Over the years, he has become one of the most important living American artists. Almost invisible surface abrasion by number. Image size: 522x417mm. Price: Please call or email for current pricing information.

Top row center: Larry Rivers (American, 1923-2002), "Bronx Zoo." Original color lithograph, 1983. 250 signed & numbered impressions printed by Styria Studios in NYC and published by the NY Graphic Society. Another impression of this work is in the collection of the Metropolitan Museum in NY City. Rivers' works are in most major museums, including MoMA, the Hirshhorn, the National Gallery of Art (Washington D.C.), & the Fitzwilliam Museum (Cambridge, U.K.) Image size: 663x864mm. Mat size: 32x40 inches. Price: Please call or email for current pricing information.

Top row right: Jim Dine (American, b, 1935), "Vegetables VI" (Mikro 66f). Original color lithograph and collage, 1969. 96 signed & numbered impressions for the Vegetables portfolio. Dine was part of the original group that made the 3 Pop Art Portfolio and was an active participant in their "Happenings" and other public activities. Over the years, he has also shown himself to be one of the most durable of the group and his place in the history of Contemporary Art is assured. Selected Public Collections: Metropolitan Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Jewish Museum, NY; National Gallery, Washington DC; Boston Museum of Fine Art; Art Institute of Chicago; Los Angles County Museum; Art Museum, Princeton University; Fogg Art Museum, Harvard University; High Museum of Art, Atlanta; Cincinnati Art Museum, Akron Art Institute, Ohio; Dallas Museum of Art; New Orleans Museum of Art; Stedelijk Museum, Amsterdam, Netherlands; Tate Gallery, London, Tokyo Metropolitan Art Museum; Western Australian Museum, Perth; Israel Museum, Jerusalem; Art Gallery of Ontario, Toronto, Canada. Image size: 455x410mm. Mat size: 30x24. Price: Please call or email for current pricing information.

Lower row left: Jim Dine (American, b, 1935), "Awl” (Mikro 35). Original color serigraph, 1965. 200 signed & numbered impressions + 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, “11 Pop Artists I” (our impression is L/L). One of Dine's earliest POP art prints; it is also one of Dine's signature prints and one of the classic POP prints. Illustrated in Judith Goldman, “The Pop Image: Prints & Multiples” (NY: Marlborough Graphics, 1994). Image size: 607x504mm. Mat size: 36x28 inches. Price: Please call or email for current pricing information.

Lower row center: Jim Dine (American, b, 1935), "Calico” (Mikro 37). Original color serigraph, 1965. 200 signed & numbered impressions + 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, “11 Pop Artists III” ((our impression is n. 142/200). Several restored scratches; the green area has experienced some lightening.. One of Dine's earliest and most interesting Pop prints. Included in Judith Goldman, “The Pop Image: Prints & Multiples” (NY: Marlborough Graphics, 1994). Image size: 1020x770mm. Mat size: 48x36. Price: Please call or email for current pricing information.

Low row right: Jim Dine (American, b, 1935), "Olympic Bathrobe.” Original color lithograph, 1988. Executed for the 1988 Seoul Olympic Portfolio but not actually released to the public because the publisher went bankrupt. The edition was supposed to be 300 signed & numbered impressions plus 30 artists proofs. There was also printed a Roman-numeraled edition of 300 that was supposed to be for the members of the International Olympic Committee but, so far as we know, that too was never released to the members (we have had several of the roman-numeraled impressions, all acquired from one of the people who bought up the bankruptcy paper). We have been told by one of the creditors that while the prints were in storage under the supervision of the Bankruptcy Court, many impressions were water damaged, but we have not actually seen any of these damaged pieces. Several impressions of this work were sold at auction between 1990 and 1993, averaging nearly Please call or email for current pricing information. Image size: 890x685mm. Mat size: (44x36 inches inches). Price: Please call or email for current pricing information.

Christo and Jeanne-Claude (both b. 1935), Wrapped Statues / Project for Der Glyptothek. Original color screenprint and photocollage, 1988. 300 signed & numbered impressions plus 30 artists proofs printed at the Landfall Press on wove paper. There was also a Roman-numeral edition of 300 which was supposed to be for the members of the International Olympic Committee. The edition was never issued in 1988 because the publisher went bankrupt. We have been told by one of his creditors that while the prints were in storage under the supervision of the Bankruptcy Court, many impressions were water damaged, but we have not actually seen any of these damaged pieces. Image size: 889x686mm. Price: Please call or email for current pricing information.

We aarre excited to announce a late addition to the show:

Richard Diebenkorn (American, 1922-1993, Seated woman in armchair. Original lithograph, 1965. 100 signed and numbered impressions on BFK Rives (of which ours is n. 43/100). Published by Original Press. Most of Diebenkorn's etchings and lithographs are abstract; very few depict nudes. Recently one of Diebenkorn's abstract prints hit Please call or email for current pricing information plus buyer's premium at Sotheby's NY. His figurative work currently sells for considerably less! In Christie's May 1990 Contemporary Print Auction, a similar piece, also from 1965, sold for Please call or email for current pricing information plus buyer's premium. A strong work in excellent condition! Image size: 666x508mm. Price: Please call or email for current pricing information.

During 1998-99, a retrospective organized by Jane Livingston circulated to the Phillips Collection in Washington, D.C., and the Whitney Museum of Art in New York City, the two museums that collaborated on organizing the show, the Modern Art Museum of Fort Worth, and the San Francisco Museum of Modern Art. As retrospectives do, it offered many critics a chance to think about Diebenkorn's career and his accomplishments. As Kenneth Baker noted in the March 1998 issue of Smithsonian, Diebenkorn has long been regarded by many artists as an "artist's artist." From the 1940s through the early 1990s, the Oregon-born artist concentrated on one goal above all else: to create visual images that forced him to continually question the process itself. As his daughter Gretchen Grant points out, this could involve his pondering a seemingly finished painting for 15 years, then applying a small dab of color to it with the comment, "It's finished now."

Inspired by Matisse, Gorky and other predecessors, Diebenkorn wrestled all his life with issues of abstraction versus representation. His quest culminated in the dazzling "Ocean Park" series of paintings, named for the neighborhood bordering Santa Monica, California, where his studio was located. "There is nothing descriptive about the 'Ocean Park' paintings," writes Kenneth Baker, who is art critic for the San Francisco Chronicle. "Yet we can imagine how old Santa Monica's geometry of white-and-pastel stucco buildings punctuated by windows and sloping rooflines might underlie the pictures' architecture of lines and erasures." As Constance W. Glenn observes in an article in the Grove Dictionary of Art, "The period of Diebenkorn's figurative work corresponds (with the exception of the last of the Berkeley abstractions in 1955) to his remaining years as a teacher in the Bay Area (until about 1966). With Park, Bischoff and other artists such as Nathan Oliveira (b 1928), William Theo Brown (b 1919) and Paul Wonner (b 1920), Diebenkorn became known as one of the founders of the Bay Area figurative school. He always resisted the notion of a ‘school' in any formal sense, noting that the artists involved simply enjoyed a close association, but he led the way in developing a unique northern Californian realism. Paintings such as Figure on Porch (1959; Oakland, CA, Museum) continued the fluid, horizontal landscape references of the Berkeley series, while they introduced a skeletal grid with elements, such as a solitary figure anchoring shallow space at a central point. The new colours—intense sunlit blues, greens and yellows—were those of the California landscape. After visiting the former Soviet Union in 1964, where he saw paintings by Matisse previously in the Shchukin Collection (now Moscow, Pushkin Mus. F.A.), he paid further homage to him in his use of arabesques and fusions of exterior and interior spaces."

Selected Bibliography: Paul Bonaventura, Richard Diebenkorn September 15 to November 1, 1992. Museum of Contemporary Art, Los Angeles (LA: MOPA, 1992); Robert T. Buck, Linda L. Cathcart, Richard Diebenkorn: Paintings and drawings, 1943-1976 (Bufalo: Albright-Knox Art Gallery, 1976); Linda L. Cathcart, Richard Diebenkorn: 38th Venice Biennial, United States Pavilion, 1978 (NY: Internatinal Exhbitions Committee of the American Federation of Arts, 1978); Jack Flam, Richard Diebenkorn: Ocean Park (NY: Rizzoli Interantional Publications, 1992); Catherine Lampert, Richard Diebenkorn (London: Whitechapel Art Gallery, 1991); Jane Livingston, John Elderfield, Richard Diebenkorn, The Art of Richard Diebenkorn (NY: Whitney Museum of Art, 1997); John McEnroe, Jane Livingston, and Barnaby Conrad III, Richard Diebenkorn (London: Chronicle Books, 2003); John McEnroe, Jane Livingston, and Barnaby Conrad III, Richard Diebenkorn: Figurative Works on Paper (San Francisco: John Berggruen Gallery, 2003); Gerald Nordland, Richard Diebenkorn (NY: Rizzoli, 1996); Gerald Nordland, Richard Diebenkorn Graphics 1981-1988 (Billings, Mont.: Yellowstone Art Center, 1989); Gerald Nordland, Richard Diebenkorn Monotypes (Los Angeles: Frederick S. Wight Art Gallery, U.C.L.A. 1976, Los Angeles, 1976); Phyllis Plous, Richard Diebenkorn: Intaglio Prints, 1961 - 1978 (University of California at Santa Barbara Art Museum, 1979); Andrew Robison et al, Durer to Diebenkorn: Recent Acquisitions of Art on Paper (Washington DC: National Gallery of Art, 1992); Mark Stevens and Kathan Brown, Richard Diebenkorn, Etchings and Drypoints 1949-1980 (Houston: Houston Fine Arts Press, 1981).

Spaightwood Galleries, Inc.

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