• It's real. It's photo real.


    Photorealism as an art movement began in the late 1960s. It involved the production of images that deployed near-microscopic detail to achieve the highest degree of representational verisimilitude possible. Artists such as Richard Estes, Ralph Goings, Robert Cottingham, John Salt, Davis Cone, John Baeder, John Kacere, and Chuck Close attempted to reproduce what the camera could record and created highly illusionistic images that referred not to nature but to the reproduced image. READ & SHOP THE EDITORIAL >

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  • Spotlight Artist: Roy Lichtenstein

    Roy Lichtenstein  (1923 - 1997), American painter who was a founder and foremost practitioner of Pop art, a movement that countered the techniques and concepts of Abstract Expressionism with images and techniques taken from popular culture. Lichtenstein sought an anonymous style, removing personal reference to convey the appearance of mass production. He borrowed familiar subjects like comic strips, bank notes and advertising from magazines and newspaper comics. Using a palette of bright primary colors in his composition, Lichtenstein developed the, now famous, technique of stenciled dotted lines that mimicked and amplified commercial printing patterns. The artist has a wide repertoire including paintings, sculpture, drawing, ceramics, tapestry, objects and photography as well as of works on paper with which he experimented prolifically. Prints have played a seminal role in Lichtenstein’s career from the beginning. From the start there are inextricable ties among his prints, his paintings and his sculptures. Dotted fields refer to halftone screens, and the stripes are reminiscent of linear hatchings, from Durer’s woodcuts through centuries of printed tonal gradations. These marks have been augmented over the years by printed painterly surfaces composed of both schematic brushstrokes and vigorous expressionist slashes.

    Girl and Spray Can Roy Lichtenstein Girl and Spray Can Roy Lichtenstein

    At the start of his artistic career, Lichtenstein painted themes from the American West in a variety of modern art styles; he dabbled in 1957 even in Abstract Expressionism, a style he later reacted against. His interest in the comic-strip cartoon as an art theme probably began with a painting of Mickey Mouse and Donald Duck he made in 1960 for his children. By the early 1960s Lichtenstein was beginning to develop what has come to be his classic signature style, marked by a unified compositional approach not unlike ideas espoused by Hoyt Sherman. Respect for balance and structure, rooted in both cubism and abstract expressionism, is of paramount importance. Although he was initially dissatisfied with his technique and uncomfortable with direct appropriation, he took great pleasure in presenting well-known comic-strip figures in a fine art format. He increased the size of his canvases and began to manipulate to his own ends the graphic and linguistic conventions of comic strips dealing with such genres as romance, war, and science fiction. In the style of comic strips, he used words to express sound effects. He developed a detached, mass-produced effect by outlining areas of primary colour with thick black lines and by using a technique that simulated benday screening (a dot pattern used by engravers). Lichtenstein continued in this vein for much of his career, and his artworks are readily identifiable by their comic-strip characteristics. Nevertheless he extended these techniques into clever and thought-provoking meditations on art and popular culture.


    Lichtenstein’s first one-man show, held in New York City in 1962, was a great commercial success, and his innovative work found an international audience. In 1966 he became the first American to exhibit at London’s Tate Gallery. After the 1960s, Lichtenstein’s works began to include still lifes and landscapes, and they were a dramatic departure from his earlier style in their use of brushstrokes as well as in their subject matter.


    In the last five years weight of artworks by Lichtenstein has been amplified on the art market, especially in 2013 when his auction results reached an all time high of $140 million at Christie’s - more than Claude Monet and Pablo Picasso. In the last ten years Lichtenstein’s price index rose 152% in the last decade tracking Andy Warhol’s index with a two-year lag, according to Artprice and Art Market Insight. Buyers of Lichtenstein are competing for his historic works of the 1960’s and 70’s, during the forefront of the Pop-Art movement. Some of the best performing images are Lichtenstein’s rendition of Picasso’s Dora Maar portrait called Woman with Flowered Hat (selling for $50 million in 2013), Sleeping Girl (selling for $40 million in 2012) and Nude with Yellow Flower (selling for $21 million in 2013). Not just paintings are gaining value; Christie’s fetched a record price of $265,000 for a Lichtenstein print Nude with Blue Hair, State I from the Nude series in 2013.


    Even though the values of Lichtenstein’s artwork are rising rapidly, half of his work - which includes mostly works on paper such as serigraphs, lithographs, etchings, woodcuts and posters - are still available for affordable prices on the market, though this group of work is also following the trends. Values of Lichtenstein are sure to appreciate over time as even the price in original posters has seen steady growth. Lichtenstein’s 1969 exhibition poster called Guggenheim Medallion worth $50 in 1997 has appreciated to $750 value. Similarly, Drowning Girl (1963) worth $60 in 1997 is now valued at $900.



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  • "Excess is expressionless without restraint." -Robert Rauschenberg

    rauschenberg-1967-4_670777c Rauschenberg with a painting featuring John F Kennedy: his productivity mirrored Pop Art's obsession with consumerism.

    On this day in 1925, American Artist Robert Rauschenberg was born.

    See original posters designed by Rauschenberg, please click here.


    Image source: Getty Images via telegraph.co.uk

  • W O R D S - Typography as Creative Media


    We are constantly inundated by a dizzying amount of words - in both physical and digital representations - conversations, news, tweets, advertisements, road signs, and the tsunami of words printed on consumer products. Artists recognized the aesthetic significance of typographic forms and explored graphic design and typography as serious creative media.

    Roy Lichtenstein - Whaam! B Poster

    Rauschenberg - Leo Castelli Exhibition

    Barbara Kruger Poster

    Vintage cover design poster

    Bob & Roberta Smith

    In 1918, artist Egon Schiele was invited to participate in the Secession's 49th exhibition, held in Vienna, Austria. He also designed a poster for the exhibition, which is now in the permenant collection at the Museum of Modern Art in New York City.

    Egon Schiele - 49th Secession Poster

    At the beginning of the 20th Century in Russia,  constructivist artists such as El Lissitzky and Kasimir Malevich had begun an investigation of abstract form, aiming to reduce art to its essentials and eliminate the distractions of brushwork and accident from their creations. 

    El Lissitzky - Wendingen Poster

    Shortly after 1945, in collaboration with the lithographic studios of Mourlot and Lacouriere, posters advertising exhibitions by Miro, Picasso, Matisse, and Braque were issued, and these burst upon the art world with surprising results. The French National Tourist Office adapted a luminous Matisse Painting and added it to an elegant series of photographic tourist advertisements.

    Henri Matisse - Nice, Travail et Joie

    Ben Shanh came to the poster from industrial design and typography, trained as a commercial lithographer and lettering artist, but had long since abandoned this for painting and drawing when depression and then war gripped the country. Throughout his artistic career, Shanh designed posters, combining various techniques and typographic forms.

    Ben Shahn - Mario Casetta Ausstellung

    Moderna Museet Poster

    Picasso - Vallauris Exposition 1958

    Dumchap - Moderna Museet 1966 

    Braque - Avec L'age

    Miro - Illustrated Poems

    Niki de Saint Phalle - Paradise (1987)

  • Investment Series - October 2015

    Spotlight Artist: Gerhardt Richter

    Gerhard Richter (b.1932) lived through World War II Germany in Dresden and in smaller towns close to the Polish and Czech borders. At the age of 12, Richter received a simple plate camera as a Christmas gift from his mother and was taught by a local camera shop owner Werner Jungmichel to develop and print photographs, a skill which Richter would continue to use as an aid to painting. Richter was admitted into the post-war Dresden Art Academy after the second application in 1951. After his resettlement in West Germany, Richter studied at Kunsthakademie Düsseldorf from 1961 to 1964, where he met Polke, Lueg and Kuttner and began to collaborate. Richter had his first solo exhibition Gerhard Richter at Galerie Schmela, Düsseldorf.

    Gerhard Richter in front of one of his paintings at the Centre Pompidou, Paris, in June 2012.
    Photograph: Joel Saget/AFP/Getty         Images Source: The Guardian

    Since the 1960s Richter has been interested and immersed in the relationship between photographic sources and painting; using photographs as his starting point and rebelling against the typical notions of what paintings should be. Concurrently, Richter also moved away from typical subject matters, and began painting eclectic subjects including military aircraft, family portraits, groups of people, murder, death, dying and war.


    Richter - Lovers in the Forest

    Offset Lithograph

      $125 discounted $87.50

    Richter - City Pictures, Munich

    Offset Lithograph

      $35 discounted $24.50


    Richter - 1025 Colors ( 1025 Farben )

    Offset Lithograph

      $250 discounted $175

    Richter - Abstrakte Bilder

    Offset Lithograph

      $60 discounted $42


    Richter - Kerze (Candle)

    Offset Lithograph

      $75 discounted $52.50

    Richter - Schadel (Skull)

    Offset Lithograph

      $75 discounted $52.50


    At the end of the 1960s Richter painted mostly aerial views of towns, cities and mountain ranges, which investigated through abstraction and experimentation with delicate grisaille shadow paintings, grey monochromes - eventually resulting in his now famous color streak paintings. Throughout the 1970s Richter explored color blocks while grappling with the concepts of anti-expressive minimalism and ideas about the death of painting. The year 1976 was a particularly breakthrough year for Richter in which he created a substantial number of colorful abstract works, that welcomed an array of patterns, textures, surfaces and techniques with an energetic investigatory zeal. By the end of the 1980s, Richter was among the most prominent painters in both Germany and the world, with his gallery representation shifting to Marian Goodman in New York and Anthony d'Offay in London.


    Richter - Merlin

    Offset Lithograph

      $125 discounted $87.50

    Richter - DG

    Offset Lithograph

      $125 discounted $87.50


    Richter - Tisch (Table)

    Offset Lithograph

      $150 discounted $105

    Richter - Victoria I

    Offset Lithograph

      Estimated Value: $ 3,025 - $ 3,535


    Richter - Victoria II

    Offset Lithograph

      Estimated Value: $ 3,025 - $ 3,535



    Richter - Eis 2Serigraph

      Estimated Value: $ 3,025 - $ 3,535


    Richter - Wald (Forest)

    Offset Lithograph

      $150 discounted $105


    Represented by topnotch galleries and alongside esteemed artists, Richter’s works have always risen in value over time, especially in the last decade. Signed offset prints of Victoria I and Victoria II were worth $714 in 2000, $1893 in 2004, $2500 in 2006 and $8000 in 2013. Similarly, signed and numbered serigraphs of the popular piece Eis 2 was worth $4500 in 2003, $8000 in 2004, $16000 in 2005 and $37000 in 2013. Like everything Richter produces, his high quality prints are vivid, sharp and of excellent quality.

  • September Issue

    Norman Parkinson - Carmen

    Robert Coburn - Jinx Falkenburg

    15% off fashion posters 

    discount code: septissue | ends Sept 30

    Renoir - Woman in Black Veil

    Degas - The Red Ballet Skirts 

    Horst - Beauty: Bare Facts about Fashion

    Horst - The Model

    Sieff - Two Women in Fur Coats

    Sieff - London (1967) 

    Schatzberg - Fish Market

    Clark - Dior

    Penn - Mouth (for L'Oreal), NY

    Erte - Harper's Bazar Cover 

    Weber - On the set

    Dufy - Portraits D'Helena Rubinstein 

    Unknown - Cartier Necklace 

    Commoy & Blanchard - Le Male

    Warhol - Diamond Dust Shoes



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