Bob Pardo Art

Hand signed and numbered. Edition of 150 prints. Excellent condition.

Sister Mary Corita Kent Sister Corita hand signed poster, 1985 Offset Lithograph Signed in pencil by the artist on the lower right 24 x 18 inches Unframed This offset lithograph post...

Niki de Saint Phalle I Rather Like You A Lot You Fool, 1970 Silkscreen on wove paper Signed and numbered 74//75 in graphite pencil on the front Frame included: This work is elegantly floated and framed in a museum quality white wood frame with UV plexiglass Accompanied by gallery issued Certificate of Guarantee A delightful and clever work. The text reads: I Rather Like You A Lot You Fool Not much Hair Crooked Nose You are not very rich You’re not terribly intelligent You smoke too much pot You are lazy A bit crazy But I like the way you touch me I like the way you look at trees and flowers I like the way you look at me You found the key to my heart Dimensions: Framed 23.5 vertical by 28.5 by 1.5 inches Artwork: 19.5 by 25.5 inches "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles... Her Nanas, bold, sexy sculptures...

Otono Floral, 1995 Hand-painted, 15-color screenprint with poured resin 40 x 30 inches (102 x 76 cm) Edition of 80 signed in pencil and stamped on verso "Sexual Spring-like Win...

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

Screen print on paper realized by Franco Bocchi in 1980s. Hand signed and numbered in pencil. Edition of 200 prints. Excellent condition. Franco Bocchi was born in Cologne (BS) o...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Corita Kent Yes to You, 1979 Color silkscreen Hand signed, numbered and uniquely inscribed with a heart doodle by the artist on the front. Artists Proof (aside from the regular editi...

Robert Rauschenberg International Very Special Arts Festival, 1989 Lithograph on wove paper Signed, dated and numbered from the edition of 275 in graphite pencil on the front 38 1/4 ...

Instant Nutriment #4, 1969 - Modern Pop Art Psychedelic Print A vintage psychedelic print, Instant Nutriment #4, 1969 by Peter Max (German, b. 1937). Unframed. Shipped Rolled in tube. Some edge wear to paper. Image: 36"H x 24"W One of the most famous of all living artist's, Peter Max is a pop culture icon. His bold colors, uplifting images and an uncommon artistic diversity have touched almost every phase of American culture and has inspired many generations. Peter Max has painted for six U.S. Presidents and his art is on display in Presidential Libraries and in U.S. Embassies. Max has painted our Lady Liberty annually since America's Bicentennial and in 2000 a collage of his Liberties adorned over 145 million Verizon phone books. Max has been named an official artist of the 2006 U.S. Olympic Team at the Winter Olympics in Turin, Italy. He has also been Official Artist of 5 Super Bowls, World Cup USA, The World Series, The U.S. Open, The Indy 500, The NYC Marathon...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...