Jasper Johns Summer (Blue)

1992

And Then (A Deep Ocean of Ultramarine) is an offset lithograph on paper, 19.75 x 19.75 inches, signed and numbered 150/300 lower right. Framed in a contemporary silver-tone frame.

Assignation of Spirit is an offset lithograph on paper, 26.75 x 26.75 inches, signed lower right and numbered 155/300. Framed in a contemporary white frame.

Chaos: Primordial Life is an offset lithograph on paper, 26.75 x 26.75 inches, signed and numbered 92/300 lower right. Framed in a contemporary silver-tone frame.

Parallel Universe is an offset lithograph on paper, 26.75 x 26.75 inches, signed and numbered 212/300 lower right. Framed in a contemporary white frame.

Sigmar Polke Preisvergliech (Price Comparison), 2001 offset lithograph/silkscreen on card stock 39 1/2 x 27 inches Edition of 75 signed, dated and numbered recto in ink; printer...

Andy Warhol Drawings 1942-1987 - Museum Moyland Castle Offset Lithograph 1998 33 x 23.62 inches (84 x 60 cm) Unsigned as issued COA provided *Condition: Minute creasing along the ed...

Roy Lichtenstein Mirror Images Offset Lithograph 2000 33.07 x 23.22 inches (84 x 59 cm) Unsigned as issued Publisher: VG Bild-Kunst, Bonn - Germany COA provided The exhibition in Wo...

Agent X Title : Tony Terrell Year: 2019 Medium: Digital Print Signed Edition: 125 30 x 30 inches 76 x 76 cm

Agent X Title : April Kennedy Year: 2019 Medium: Digital Print Signed Edition: 125 70 x 70 inches Agent X, cultural explorer and agent of the unknown, i...

This vintage poster from 1984, designed by doll historians Stéphanie Farago and Bob Dennison, features seven Lenci dolls in a setting related to the 1984 Summer Olympic Games in Los Angeles. The image plays on mimicry: dolls imitating children, children dressed as adults, and adults observing them. These iconic dolls, made of pressed felt by the Lenci company in the early 20th century, are dressed in adult sports attire: boxing gloves, jockeys, golfers' uniforms, riding jackets, and fencing gear. Their gaze is turned sideways, not toward each other or the viewer, but offstage. This sidelong glance, detached and unreadable, is the hallmark of Lenci's design and one of its earliest formal signatures. Dressed for adult games, but motionless, they do not play—they pose, returning to their status as objects. The poster unsettles by staging this discrepancy between the theatricality of adult roles and the inert form of the doll. What should remain two-dimensional takes on unexpected volume, as if the viewer were reanimating a fragment of childhood. The image, likely tied to Farago and Dennison’s 1986 publication "The Magic Romance of Art Dolls", presents the quintessential Lenci figure...