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réf. 51-7261Paris: Editions du Solstice 1992. Folio. 36 x 48.5. 113pp. Printed on unwatermarked rag paper. Sheets loose as issued in original red cloth boards and blue cloth slipcase.One of 80 signed and numbered copies this one printed for Bruno Pons. The prints have been removed by a previous owner. This copy ideal for someone who owns any of the prints but not the actual portfolio. RLCR 4139 Corlett 267–276; RL 1654: ."The publisher Jean-Claude Meyer brought the poet Allen Ginsberg and Lichtenstein together for this collaboration. Work on the project began in 1991 and the book La Nouvelle Chute de l'Amérique The New Fall of America was published in 1992 by Les Éditions du Solstice Paris. Included are eleven poems by Ginsberg.WITHOUT the ten etchings created by Lichtenstein especially for this publication. One Ginsberg poem De Denver au Montana Départ 27 Mai 1972 is accompanied by two etchings; two poems are unillustrated Graffiti 12e Cabine des Pissotièrres – Aéroport de Syracuse Graffiti 12th Cubicle Men’s Room Syracuse Airport and Vendredi Treize Friday the Thirteenth. The Ginsberg text is given in both English and French translated from the English by Gérard-G. Lemaire Anne-Christine Taylor Robert Cordier Jean-Jacques Lebel and Yves Le Pellec.The unbound book is housed in a red cloth-covered folio cover fitted inside a blue cloth-covered slipcase. A Velin d’Arches paper folder surrounds the folio pages within the red folio. The book consists of 115 pages not all numbered including a title page and colophon page. Lichtenstein’s images were also published separately in an edition of forty-two suites on Japanese nacré paper."OCLC Number / Unique Identifier:29581308.Contents:.Amérique.Auto poésie : en cavale de BloomingtonBayonne en entrant dans NYC.Or automnal : arrière-saison en Nouvelle Angleterre.Une fenêtre ouverte sur Chicago.De nouveau au-dessus de Denver.Passage du Nord-ouest.Graffiti 12e cabine des pissotières-Aéroport de Syracuse.Vendredi treize.Hüm Bom!.De Denver au Montana départ 27 mai 1972.Notes:English and French on opposite pagesTranslations by Gérard-G. Lemaire and Anne-Christine Taylor except "America" Robert Cordier and Jean-Jacques Lebel--and "Hüm Bom" and "Denver to Montana" Yves Le PellecConsists of 25 bifolia and 10 prints. First and last leaf blank not counted in collation; p. 3-4 blank.Issued in white paper covers in burgundy linen portfolio and royal blue linen slipcase by Atelier Duval Paris. Paris: Editions du Solstice, 1992 hardcover
1968réf. 100144New York The Letter Edged in Black Press, 1968. 1968 6 17.8 x 27.9 cm. New York, The Letter Edged in Black Press, 1968. Six portefeuilles 178 x 279 mm, présentés dans leurs emballages postaux d’origine, contenant chacun un sommaire, pour un total de 73 multiples originaux.
1986réf. 2413New York: Harry N. Abrams 1986. FIRST EDITION. Original box. Very Good. DELUXE SIGNED LIMITED FIRST EDITION ONE OF ONLY 100 COPIES SIGNED BY LICHTENSTEIN complete with 24 offset lithographs printed in color on Coronado Opaque SST Cover paper. Although known primarily for large bold works Roy Lichtenstein "always worked from meticulous finished sketches. During a distinguished career of almost three decades he has seldom deviated from the practice of using these sketches to generate paintings prints and sculpture in ongoing and discrete series. "The twenty-four drawings in this sketchbook are 'all landscapes figures and houses but they are essentially landscapes.' They do in part recall certain of his landscape images of the mid-sixties. However now devoid of the familiar Lichtenstein dots each is composed exclusively of brushstrokes-a combination of free seemingly spontaneous marks evoking Abstract Expressionism played against what the artist refers to as 'cartoon' brushstrokes that continue to represent his concern for artifice. "The drawings in Landscape Sketches 1984-1985 inspired by a semiabstract landscape that appeared as an element in his recent Paintings series constitute his first attempt at creating 'plain landscapes out of all brushstrokes'-the frankly 'fake' or cartoon marks providing the link that allows us to associate these new works with those we recognize as archetypal." Constance W. Glenn Introduction. Note: In addition to the 100 signed and numbered copies there were an additional 10 artist's proofs issued. New York: Harry N. Abrams 1986. Quarto 8.25 x 11 in loose as issued in cloth box with introductory booklet laid-in. Number 45/100 signed and dated on inside of portfolio. Complete with all tissue guards. Some soiling to box otherwise fine. RARE. Harry N. Abrams unknown books
1992réf. 151018Paris: Les Editions du Solstice 1992. Artist's proof aside from the edition of 42. Signed and dated in pencil lower right numbered lower left. There was also an edition of 80 plus 40 hors commerce editions printed on Arches paper published in a book format these were initialled by Lichtenstein and undated. This piece is one of ten etchings produced as a collaboration with Allen Ginsberg's poetry for a book titled La Nouvelle Chute de L'Amérique. Etching and aquatint in three colours on Japon nacré paper lower and right edge untrimmed. Image size: 27.9 x 37.8 cm. Sheet size: 35.4 x 48 cm. Framed size: 49.3 x 58.2 cm. Margins lightly toned hidden by the mount otherwise excellent condition. Presented in a white box frame with acrylic glazing. Corlett 275 unknown
1967réf. 87711New York: Tanglewood Press Inc. 1967. Edition of 200. Signed on the mount in pencil lower right by Lichtenstein numbered lower left additionally signed on verso of image in pencil upper right. Two-colour screenprint on silver gelatin photographic print mounted on a lenticular offset lithograph on white composition board with window mount as issued. Image size: 27.9 x 35.5 cm. Mount size: 60.4 x 50.8. Framed size: 67 x 58 cm. Excellent condition. Presented float-mounted in a light ash frame. Corlett 50 unknown
1964réf. 362757Milan: Galleria Schwartz 1964. First Edition. Hardcover. Fine. A twenty-image gallery of original engravings printed from plates made in 1962 the defining year of American Pop Art by the defining artists of the era including Andy Warhol his first multiple Roy Lichtenstein Wayne Thiebaud Jim Dine and others. These etchings are presented in book format with each artwork bound into the book in a mat with a clear plastic protector. Usually these images are four removed from the book. However in your cataloguer's most humble opinion this book presentation is far superior to looking at individual images hanging on a wall. The intimate presentation of the book and the alphabetical sequencing which requires patience to find the famous works leads to unexpected discoveries. And the excitement of having a Warhol you can set on your lap is a real joy. For this issue of the International Anthology of Contemporary Engraving the editors commissioned the hottest young artists on the American scene to make engravings for this book mostly in 1962 for publication two years later. The highlight is Roy Lichtenstein's etching of a light switch. Wayne Thiebaud adapted a painting of yo-yos shifting the placement of the toys for this black-and-white medium. Andy Warhol appropriated an ad for a discount cooking pot that he found on page 35 of the October 16 1962 New York Daily News and made it visually interesting through clever cropping the ad may have appeared on other days as well but I found it first on October 16 and I stopped looking. These engravings were issued in an edition of 100 copies: 60 numbered with Arabic numerals 25 numbered with Roman numerals for the contributors and 15 artist's proofs marked "e.a." for "épreuve d'artiste." The mats measure 9 by 11-3/4 inches plus the binding stub. This bound volume includes 8 leaves two blank for text with all contents presented in English as well as French and Italian translation. The introduction is by Billy Klüver who worked with Andy Warhol. The original etchings presented in this volume are all signed by the artist with the exception of the Warhol which is blindstamped. They are as follows with captions for untitled works invented by your cataloguer and the mediums and plate sizes w x h taken from the cataloging of the Museum of Modern Art website: 1. George Brecht. Untitled "1 cut out this block". Etching; plate 4-3/4 by 5-1/2 inches; 2. Allan D'Arcangelo. "American Madonna." Etching; plate 4-3/8 by 5-7/8; 3. Jim Dine. "Corner Brace." Etching; plate 6 by 4-3/8; 4. Stephen Durkee. Untitled "Salvation". Photogravure; plate 4-7/16 by 6; 5. Lette Eisenhauer. Untitled Crossword Puzzle. Etching with pencil additions; plate 5-78 by 3-7/8; 6. Stanley Fisher. Untitled "BMOB". Etching; plate 4-7/16 by 5-7/8; 7. Sam Goodman. Untitled "6000000 Dead". Etching; plate 4-7/16 by 5-7/8; 8. Red Grooms. Untitled Walking Man. Etching; plate 6-1/6 by 4-5/8; 9. Robert Indiana. "Err." Photogravure with etching; plate 6 by 4-3/8; 10. Allan Kaprow. Untitled "srorriM". Etching; plate 4-7/16 by 5-13/16; 11. Roy Lichtenstein. "On." Etching; plate 4-1/2 by 5-7/8 inches. Corlett 32; 12. Boris Lurie. Untitled Stars of David. Etching and drypoint; two images each 5-3/4 by 4-1/2; 13. Claes Oldenburg. "Orpheum Sign." Etching and aquatint; plate 4-7/16 by 5-7/8; 14. James Rosenquist. "Certificate." Photogravure and etching; plate 6 by 4-1/2; 15. George Segal. Untitled Telephone. Etching; plate 4-5/16 by 5-7/8; 16. Richard Stankiewicz. Untitled Ink Blots. Etching; plate 4-1/4 by 5-13/16; 17. Wayne Thiebaud. Untitled Yo-yos. Etching; plate 5-13/16 by 4-1/4; 18. Andy Warhol. "Cooking Pot." Relief halftone; 4-5/8 by 6-3/16. Feldman 1; 19. Robert Watts. Untitled Dollar Bill. Etching; plate 5-7/8 by 2-1/2; 20. Robert Whitman. Untitled Crossroads. Etching; plate 5-15/16 by 3-15/16. A fine volume complete with all artwork. In a near fine paper sleeve as issued. All works are from the smallest limitation of 15 artist's proofs; and all but the Warhol are signed by the artists as issued. Galleria Schwartz hardcover
