James Rosenquist, ‘Ten Days (Glenn 68)’, 1973, Joseph K. Levene Fine Art, Ltd.
James Rosenquist, ‘Ten Days (Glenn 68)’, 1973, Joseph K. Levene Fine Art, Ltd.
James Rosenquist, ‘Ten Days (Glenn 68)’, 1973, Joseph K. Levene Fine Art, Ltd.

http://josephklevenefineartltd.com/artists/james-rosenquist/james-rosenquist.html

Signature: Numbered from edition of 300 in pencil lower right recto. Signed "Rosenquist" in pencil lower right recto. Stamped in black on verso "© Copyright 1973 By James Rosenquist Printed At Styria Studio"

Constance Glenn, James Rosenquist Complete Graphics 1962-1992, Rizzoli, NY, Catalogue number 68, another impression illustrated in full color, page 143

About James Rosenquist

Leading Pop artist James Rosenquist—who came to prominence among New York School figures like Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, and Willem de Kooning—is well known for his large-scale, fragmented works that bring the visual language of commercial painting onto canvas (notably, from 1957-60, Rosenquist earned his living as a billboard painter). In his use of mass-produced goods and vernacular culture rendered in an anonymous style, Rosenquist's work recalls that of Andy Warhol, while his seemingly irrational, mysterious pictorial combinations owe a debt to Surrealism. His breakthrough work, the iconic F-111 (1965)—51 panels that total over 22 by 24 feet—juxtaposes an American fighter plane with a Firestone tire, garish orange tinned spaghetti, and a young girl under a hair dryer.

American, 1933-2017, Grand Forks, North Dakota, based in Aripeka, Florida

Exhibition Highlights

2015
Galerie Thaddaeus Ropac, 
Paris-Pantin,
2015
DeChant Art Consulting, 
Bratenahl,
From an Art Consultant's Eye