Robert Indiana, ‘DECADE: Vinalhaven Suite Autoportrait #6: COOMB'S NECK’, 1980, Pascal Fine Art
Robert Indiana, ‘DECADE: Vinalhaven Suite Autoportrait #6: COOMB'S NECK’, 1980, Pascal Fine Art
Robert Indiana, ‘DECADE: Vinalhaven Suite Autoportrait #6: COOMB'S NECK’, 1980, Pascal Fine Art
Robert Indiana, ‘DECADE: Vinalhaven Suite Autoportrait #6: COOMB'S NECK’, 1980, Pascal Fine Art
Robert Indiana, ‘DECADE: Vinalhaven Suite Autoportrait #6: COOMB'S NECK’, 1980, Pascal Fine Art

DECADE: AUTOPORTRAIT Vinalhaven Suite 1980 Paper size: 26.75"x 26.75" Framed size: 28.75" x 28.75". A superb impression with strong colors. Edition of 125 (there were also 10 artist's proofs).

Signature: Signed and dated in pencil lower right Robert Indiana (American b. 1928), numbered 19/125

Publisher: Published by Multiples, New York, Domberger Silkscreen

Atlantic Ritchfield: ARCO collection

About Robert Indiana

One of the central figures of the Pop Art movement, Robert Indiana takes his inspiration from commercial signs, claiming: “There are more signs than trees in America. There are more signs than leaves. So I think of myself as a painter of American landscape.” In his paintings, sculptures, and prints, he mimics and re-arranges the words and numbers of a myriad of signs, including the Phillips 66 gas station logo and the “Yield” traffic sign. He is most famous for his “Love” paintings and sculptures, first produced in the 1960s. Creating a block out of the word—with the “L” and the “O” set atop the “V” and the “E”—Indiana has effectively inserted his own sign into the mix. His “LOVE” painting was reproduced on a postage stamp in 1973; his “LOVE” sculptures are installed in public spaces worldwide.

American, b. 1928, New Castle, Indiana, based in New York, New York