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Last updated: 1/25/2017
Home / Gallery Tour 1 / POP Art / Gallery Tour 2 / Artists
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Pop Art in the U.S. and Europe

Josef Albers / Richard Anuszkiewicz / Charles Arnoldi / Leonard Baskin / Jack Beal / Ed Baynard / Norman Bluhm
Richard Bosman /James Brown / Alexander Calder / Warrington Colescott / Christo / George Cramer / Allan D'Arcangelo
Willem de Kooning / Richard Diebenkorn /Jim Dine / Sam Francis / Sam Gilliam / Adolph Gottlieb / Philip Guston
John Himmelfarb / / Robert Indiana / Paul Jenkins / Jasper Johns / Allen Jones / Lester Johnson / Alex Katz / R. B. Kitaj
Ellsworth Kelly/ Nicholas Krushenick / Jacob Lawrence / Roy Lichtenstein / Richard Lindner / Manel Llèdos
Robert Motherwell / Reuben Nakian / Barnet Newman / Claes Oldenberg / Jules Olitski / Philip Pearlstein / Mel Ramos
Robert Rauschenberg / Don Reitz / Larry Rivers / James Rosenquist / George Segal / Alan Shields / Steven Sorman
Robert Stackhouse / Frank Stella / Carol Summers / Wayne Taylor / William (Bill) Weege / John Wesley / Tom Wesselman
Jack Youngerman / Adja Yunkers

Valerio Adami, Joan Gardy Artigas, Enrico Baj, Elizabeth Blackadder / Allen Jones / Peter Phillips
Spaightwood Galleries invites you to browse some of the pieces from our 2001 Pop Art show and some of our more recent acquisitions, featuring works by a number of POP Artists in America and Europe. As many of the Americans involved have said, they were simply tired of the heroic claims of Abstract Expressionism, of the "poetry" of paintings on the grand scale that painters like Pollock and Motherwell were creating. As Tom Wesselmann said, "I didn't want to deal in poetry. I got rid of that after a few months. I began to anyway. I guess it took me a couple of years to get rid of that. In fact, I guess it was a good two years before I began to come around to the idea that was also voiced and reinforcing myself by Alex Katz when I heard him say one time that his paintings looked brand new, like they'd just come out of a box. This was part of the climate at the time. It was all coming together in about 1962, I guess. More and more, I mean, because you had Lichtenstein coming on the scene, and Warhol and Rosenquist. Things were kind of clean and slick. It was just kind of in the air at the time." POP paintings looked to at least some of the people involved like something "brand new, like they'd just come out of a box" and many of the artists tried to make things that "were kind of clean and slick." On the other hand, one could argue that at the root of this aesthetic was the desire to do to American culture of the 1950s what Duchamp had done to French culture in the teens of the century when he shocked and outraged it by signing a store-bought urinal and displaying it in an exhibition as a work of art. For Johns and Rauschenberg, POP art was a return to DADA, to the anarchic impulse that proclaimed that art is whatever artists say it is and if they say a urinal, or a Brillo box, or a Campbell's Soup Can, or an F-111 is art, so be it. On the other hand (I think we're up to three hands here—perhaps space aliens have gotten involved), since one is hardly expected to study such objects seriously, perhaps we are not trying to outrage but to mock: POP as social satire. On yet another hand, perhaps it is not necessary to divide things into either/or categories, perhaps American POP art was not so much a movement as a bunch of guys (relatively few women seem to have been involved, unlike Abstract Expressionism, which counted Helen Frankenthaler, Joan Mitchell, Lee Krasner, and Grace Hartigan among its prominent exponents) caught up in the heady excitement of messing about with new stuff. In Europe, however, despite the surface similarities, a different set of impulses can often be seen. Some of the original contributors to the Pop Art print portfolios were English (see works by Allen Jones and Peter Philips below), yet other European artists also had Pop interests, like the Spaniard Joan Gardy Artigas and the Italian Valerio Adami, and one might even argue that early works by Gèrard Titus-Carmel share the urge to make something new, though perhaps here the appearance of newness seems more a part of an attempt to revitalize European culture by reminding it of its mythic roots; for Joan Gardy Artigas, it is clearly more a Duchampian strategy of presenting the unpresentable—sexuality—to the last moments (nearly 8 years of them) of Franco's Spain).
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 $7600). Sheet size: 536x722mm. Image size: 471x681mm. Price: $5000.
Jasper Johns (American, b. 1930), In memory of my feelings I (see From Manet to Hockney: Modern Artists' Illustrated Books published by the Victoria and Albert Museum [1985], pp. 318-319). Original lithograph, 1968. 2500 impressions for a memorial tribute to the poet, art-critic, and curator Frank O'Hara by the Museum of Modern Art in a deluxe boxed volume published by MoMA containing some of O'Hara's poems with lithographic illustrations by Johns, Robert Rauschenberg, Robert Motherewell, Joan Mitchell, Willem de Kooning, Elaine de Kooning, Helen Frankenthaler, Claes Oldenburg, Philip Guston, and others. With the centerfold. Image size: 304x456mmmm. Price: $1350.
Jasper Johns (American, b. 1930), In memory of my feelings II (see From Manet to Hockney: Modern Artists' Illustrated Books published by the Victoria and Albert Museum [1985], pp. 318-319). Original color lithograph, 1968. 2500 impressions for a memorial tribute to the poet, art-critic, and curator Frank O'Hara by the Museum of Modern Art in a deluxe boxed volume published by MoMA containing some of O'Hara's poems with lithographic illustrations by Johns, Robert Rauschenberg, Robert Motherewell, Joan Mitchell, Willem de Kooning, Elaine de Kooning, Helen Frankenthaler, Claes Oldenburg, Philip Guston, and others. Image size: 303x227mm. Price: $850.
Jasper Johns, Technics and Creativity: Target (Field 135, Gemini 276). Original lithograph, rubber stamp, & collage, 1971. 22,500 impressions for the Museum of Modern Art's Technics and Creativity, a catalogue raisonne of works produced by Gemini GEL. Signed with the stamped signature. The print and the catalogue came in a hard white plastic clamshell (included). Illustrated in Judith Goldman, The Pop Image: Prints & Multiples and the Gemini G.E.L. exhibition catalog. Several years ago an impression was offered in a Christies auction of Contemporary Prints with an estimate of $1200-$1500. Image size: 265x215mm. Price: $950.
Robert Rauschenberg (American, 1925-2008), Why Can't You Tell: I. Original silkscreen and collage with offset lithography, 1979. 100 signed, dated, and numbered impressions, of which ours is 92/100, plus several artist's proofs. Printed by Styria Studios on BFK Rives paper with their blindstamp lower right. This print involves solvent transfer of printed images and fabric collage and is an attempt to achieve on paper the some of the effects of Rauschenberg's painted and collaged combines. Image size: 775x587mm. Price: SOLD.
Andy Warhol (American, b. 1928-1987), AFTER. Marilyn Monroe (F&S 27). Color screenprint after Warhol, c. 1970. Edition unknown. Sunday B. Morning, a Swiss publisher, has issued portfoilos of both Warhol's Marilyns and his Flowers. Each print is stamped on the verso, "Sunday B. Morning" and "Fill in your own signature," a reference to Warhol's habit of signing his works on the verso and his use of rubber stamps. Some (though not ours, alas) of these prints are hand-signed by Warhol, "This is not by me. Andy Warhol." We have been told that after Warhol had sold out the edition of 250 printed at The Factory, he gave the original screens used to print his edition to Sunday B. Morning but have not found written confirmation of this. If true, these would then be restrikes of the original Warhol's and not scrrenprints after the originals. Image size: 913x912mm. Price: $1500.
James Rosenquist (American, b. 1933), For Love (Solomon 9, Glenn 13). Original color seriraph, 1965. 200 signed & numbered impressions plus 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, 11 Pop Artists III. One of Rosenquist's most important early Pop prints. Included in The Pop Image: Prints & Multiples. A wonderful example of painterly POP art. Image size: 892x678mm. Price: $4750.
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 n. 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. Iincluded in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlborough Graphics, 1994). Image size: 607x504mm. Price: $4500.
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. Several restored scratches; some light staining. One of Dine's earliest and most interesting Pop prints. Iincluded in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlborough Graphics, 1994). Image size: 1020x770mm. Price: $3250.
Jim Dine,Olympic Bathrobe. Original color lithograph, 1988. 300 signed & numbered impressions plus 30 artists proofs. Executed for the 1988 Seoul Olympics but not released for the Olympics, this piece sold at auction 3 times between 1990 and 1993, averaging nearly $7000. In Dine's personal iconography, this is a self-portrait. 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 not 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: 890x685mm. Price: $6500.
Allen Jones (English, b. 1937), Por les lèvres / For the lips (Lloyd 30). Original 9-color screenprint, 1965. 200 signed & numbered impressions + 50 H.C. numbered I/L-L/L for contributors to the portfolio 11 Pop Artists. Jones is one of the most necessary of the founding fathers of Pop Art. Illustrated in Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art. Image size: 769x590mm. Price: $5000.
Back in the world of high auction prices for Pop Art works, here's the description at the Blouin ArtInfo site of Sotheby's London sale (5/2012): "But both telephone bidders and the floor went truly frantic for Allen Jones's selection of soft porn furniture-sculptures, made with female mannequins in full bondage regalia. The artist's previous auction record was broken three times in quick succession. The "Hatstand" (all pieces 1969) sold for £780,450 ($1,185,711), the "Chair" for £836,450 ($1,321,591), and the "Table" £970,850 ($1,533,943) — just shy of the £1 million mark. The three pieces fetched a combined total of £2,587,750 ($4,278,245), or more than 20 times their combined presale high estimate of £120,000 ($189,600). The room broke into a round of applause."
Richard Lindner (American, 1901-1978), Red head. Original color lithograph, c. 1964. 120 signed & numbered impressions ( of which ours is n. 105/120). A drawing related to this lithograph is illustrated in Homage to Richard Lindner (NY & Paris, 1980), p. 41. Image size: 738x567mm. Price: $2500.
Larry Rivers (American, b. 1923-2002), Camel Quartet. Original color lithograph & screenprint, 1978-90. 50 signed and numbered impressions, of which ours is n. 37/50. 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. A wonderful example of painterly POP art. Image size: 522x417mm. Price: $4000.
Peter Phillips, Custom Print I. Original color serigraph on alufoil, 1965. 200 signed & numbered impressions + 50 H.C. for contributors (numbered I/L-L/L) for the portfolio, 11 Pop Artists I. One of the classic POP prints, it is included in Judith Goldman, The Pop Image: Prints & Multiples (NY: Marlboroush Graphics, 1994). Image size: 605x505mm Price: SOLD.
Peter Phillips, Composition. Original color serigraph, 1970. 200 signed & numbered impressions on Rives wove paper. Once again, Phillips employs the customizing of cars as a metaphor for the work of the artist. Signed and dated lower right, numbered 164/200 lower left. Image size: 454x653mm. Price: $3000.
Robert Indiana (American, b. 1928), V/H (9). Original color serigraph, 1982. 125 signed & numbered impressions. Image size: 610x610mm. Price: $2950.
Gérard-Titus-Carmel (French, b. 1941), UN ... [DE]SSIN. Original color chalk and ink drawing, 1967. One of Titus' rare early drawings. See Machida 14-18 for prints executed in 1966-67 similar in style to this. Signed and dated top right, obscurely titled beneath the glove top left. Although not, strictly speaking, a member of the Pop Art movement, Titus-carmel shared with Johns and Rauschenberg (and Willem de Kooning) an interest in taking common thinngs apart to see how they worked and in taking common themes and reinventing them. Image size: 256x208mm. Price: $4500.
Joan Gardy Artigas (Spaish, b. 1938), Panxa. Original color lithograph, 1968. 50 signed and numbered impressions on Arches published by Maeght Editeur in Paris. This work is related to a series of fragmentary plaster sculptures Artigas was making at the time. One of Artigas' earliest lithographs, the image offers a glimpse at the mysterious process involved in the creaion of ceramic scultures as the wood-fired kiln turns the soft and maleable clay into the stone-like yet vulnerable surface of the ceramic sculpture. Artigas has explained his love of lithography as follows: "If I want power, impact, a startling image, I use lithography. With the technique of printing directly off the stone, it is possible to get a maximum of ink on the paper. This . . . allows . . . powerful color." Image size: 755x645mm. Price: $900.
Joan Gardy Artigas (Spanish, b. 1938), The geographie of desire. Original color lithograph, 1979. 75 signed and numbered impressions published by Maeght Editeur in Paris. Image size: 501x322mmmm. Price: $575.
Valerio Adami (Italian, b. 1935), Chiron enseignant la lyre a Achille / Chiron teaching Achilles how to play the lyre. Original color lithograph, 1980. 75 signed and numbered impressions on Arches. Published in Paris by Maeght Editeur. Adami has long been interested in re-visioning scenes from classical mythology, Europe's lost "history." Here the centaur Chiron, nattily attired like a modern sophisticate, but with one hoof visible, stands in what appears to be an art gallery leaning on a walking stick while a naked Achilles holds a lyre. While not quite a case of clothes making a man, a centaur interested in art and music (centaurs were normally symbols of runaway passions, half-human, half-beast, with a tendency towards anger as in the Harry Potter cycle) is not following the sterotype and may suggest that music hath indeed charmes to sooth the savage breast. One of Adami's largest and most striking lithographs. Image size: 1067x742mm. Price: $2000.

Spaightwood Galleries, Inc.

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