Showroom

Pop Goes the Weasel

September 2024

In the Showroom, we are presenting an exclusive group of six works by four renowned artists from the Pop Art movement, ranging from 1964 to 1990. Among them are three prints by the English artist Richard Hamilton in different techniques. A screenprints from 1965 depicts the famous Guggenheim museum in New York. An etching with the lovely title A Dedicated Follower of Fashion showcases a young man making self-absorbed a phone call in front of a print by Robert Indiana.

Richard Hamilton, Swingeing London 67 – poster, 1967

Photo-offset lithograph from 6 plates, edition 7/50, Image 69 cm x 47; Sheet 70.5 cm x 50 cm

Richard Hamilton, Release, 1972

Screenprint from 1 photographic and 17 hand-cut stencils, with collage, Ed. 150/150, Image: 24-1/2 x 33-3/4 in., sheet: 27-1/2 x 37-1/4

Alongside Shipboard Girl (1964) by Roy Lichtenstein, in his characteristic Ben-Day dot technique, we also see Richard Hamilton’s first screenprint A Little Bit of Roy Lichtenstein for (1964), in which he directly references the art of his friend Roy Lichtenstein.

Richard Hamilton, A little bit of Roy Lichtenstein for ..., 1964

signed and dedicated A little bit of Roy Lichtenstein for Mark (this is Mark Lancaster, an acquaintance of Richard Hamilton from New York)

Screen print from two stencils, 58.5 x 91.5 cm ( 23 x 36 in.), Edition 40

Roy Lichtenstein, Shipboard Girl, 1965

signed in pencil, from the edition of unknown size, Offset lithograph printed in colors (faded) on wove paper, 68.7 x 51.3 cm (27 x 20 1/4 in.)

The delicate multiple First Rosemary Drawing (1990) is by Tom Wesselmann, who was fascinated by the female body throughout his life.

Tom Wesselmann, First Rosemary Drawing, 1990

signed, titled and dated in black ink on the reverse, numbered 1/25, Alkyd oil in colors, on cut out steel, Ed 1/25, 22 x 34.5 cm (8 5/8 x 13 5/8 in.)

Andy Warhol’s Electric Chair (1971) is also on display, its grim subject softened by a pink color palette.

Andy Warhol, Electric Chair, 1971

On the back, at the bottom left signed and dated, bottom right is the joint copyright stamp of Factory Additions and the publisher with the stamp numbering, Screenprint in colours, on wove paper, Ed. 134/250, 90 x 121.6 cm (35-1/2 x 47-7/8 in.)

These works are complemented by sculptural pieces, including a sphere entangled in a thread mesh by the Japanese artist Chiharu Shiota, beautifully titled State of Being (2012), and three (Mongolian) Cow Dung (1990/2009), lost wax casts of cow dung from Mongolia by the Swiss artist Not Vital.

Not Vital, (Mongolian) Cow Dung, 1990/2009

Each stamp monogrammed and numbered on the underside: NV, 556, 513 and 536, Bronze, in 3 parts, 11 x 11 x 4 cm (4 1/4 x 4 1/4 x 1 1/2 in.); 21 x 19 x 6 cm (8 1/4 x 7 1/2 x 2 3/8 in.) and 32 x 22 x 5 cm (12 5/8 x 8 5/8 x 2 in.)

Chiharu Shiota, State of Being (Silver Ball), 2012

Steel frame, wool thread, silver ball, 30 x 30 x 30 cm (11 3/4 x 11 3/4 x 11 3/4 in.)