Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle
Patrick Caulfield, ‘Some Poems Of Jules Laforgue (Cristea 38F; I-K; M; N; U)’, 1973, Doyle

Color screenprints, 1973, on Neobond synthetic wove paper, signed and numbered 46/100 (6) and 33/100 in pencil, published by Petersburg Press in association with Waddington Galleries, London, with full margins. (7)
Each approximately 16 x 14 inches; 406 x 356 mm.
Sheets approximately 23 7/8 x 21 7/8 inches; 606 x 556 mm.
Including 1. THUS, SHE WOULD COME, ESCAPED, HALF-DEAD TO MY DOOR; 6. YOU'LL BE SICK IF YOU SPEND ALL YOUR TIME INDOORS; 9. MAKING CIRCLES ON PARK LAGOONS; 10. OH! IF ONE OF THEM, SOME FINE EVENING, WOULD TRY; 13. WE WANTED TO BLEED THE SILENCE; 14. ALONG A TWILIGHTED SKY; 21. CURTAINS DRAWN BACK FROM BALCONIES OF SHORES.

Each approximately: 16 x 14 inches; 406 x 356 mm.
Sheets approximately: 23.875 x 21.875 inches; 606 x 556 mm.

Note: 1. 'THUS, SHE WOULD COME, ESCAPED, HALF-DEAD TO MY DOOR' 6. 'YOU'LL BE SICK IF YOU SPEND ALL YOUR TIME INDOORS' 9. 'MAKING CIRCLES ON PARK LAGOONS' 10. 'OH! IF ONE OF THEM, SOME FINE EVENING, WOULD TRY' 13. 'WE WANTED TO BLEED THE SILENCE' 14. 'ALONG A TWILIGHTED SKY' 21. 'CURTAINS DRAWN BACK FROM BALCONIES OF SHORES'

Condition: Six with faint inkstamps verso, some with pale discoloration in the margins and verso, one with a white sticker at bottom sheet edge verso, one with a handling crease in the image top left, otherwise in good condition.

About Patrick Caulfield

In his hard-edged, color-blocked prints and paintings of innocuous interior scenes and domestic objects such as pots, Patrick Caulfield created a sense of the exotic from the ordinary. Caulfield emerged in the 1960s amid the rise of British pop artists. Early in the decade, he became interested in the flattened, authorless quality of commercial sign painting, which he adopted in his own work by eliminating any traces of brushwork. This interest in flat, anonymous imagery inspired the screen-printing practice that he pursued alongside his paintings. In both bodies of work, he employed the unnatural colors and sharp black lines characteristic of advertising to cast a curious eye on the inventions of the modern world. Caulfield was influenced by Juan Gris and Fernand Léger, and exerted an influence on later British artists such as Gary Hume and Julian Opie.

British, 1936-2005, London, United Kingdom