Robert Indiana

This edition is part of Robert Indiana's seminal Numbers series, in which everyday typography and industrial symbols are transformed into bold, expressive compositions. The number four is presented in monumental scale, rendered in crisp geometric forms and saturated colours that recall the visual language of commercial signage and American vernacular design.

For Indiana, numbers were more than universal signs: they could also serve as metaphors for the stages of human life. Within the Numbers sequence, each number from zero to nine corresponds to a different stage of life, turning the series into a symbolic cycle of human experience. Four thus combines Indiana’s interest in language and universal symbols with a deeply personal reflection on the passage of time.

As Indiana stated: “Numbers fill my life. They fill my life even more than love. We are immersed in numbers from the moment we are born… By creating them, I’ve invested those numbers with a quality they have never had before.”

EUR 3,000

Robert Indiana’s LOVE (1967) is one of the most iconic images of American Pop Art. The composition transforms the word “LOVE” into a bold, highly graphic arrangement of oversized letters, with the tilted “O” creating its distinctive visual tension. Its saturated colours and monumental typography give the image the immediate visual impact of an advertising poster or corporate logo.

Indiana repeatedly reworked the motif in paintings, prints and sculptures, allowing LOVE to move freely between fine art, popular culture and public space. Its reproduction as a U.S. postage stamp in 1973 brought the image to millions of people, further establishing it as a symbol of American visual culture. The image has since been widely imitated and quoted by other artists and designers and has come to be closely associated with the spirit of the 1960s, its ideals of free love and sexual liberation.

Mel Ramos’ Tiger Girl and Robert Indiana’s Sex Anyone (1964), created for the landmark print portfolio 1 Cent Life, bring together two distinct yet complementary approaches to the imagery of American popular culture. Ramos depicts a glamorous pin-up figure against a star-shaped backdrop, combining the visual language of comic books, pulp fiction and advertising. Opposite, Indiana presents an oversized pair of red lips above the bold words “SEX ANYONE,” using typography and a familiar symbol of seduction as the central subject. Placed side by side, the works create a playful dialogue between the idealized female body and the language of desire, while both artists draw on the visual codes of mass media to transform popular imagery into Pop Art.

EUR 3,000

Robert Indiana’s edition The Four Winds (1964), created for the landmark print portfolio 1 Cent Life, brings together the numbers one through four and a series of bold arrows in red, yellow, green and black across a dynamic double-page composition. The arrows point in different directions and form a circular movement across the spread, while the numbers appear as graphic elements within the composition. Together, these elements give visual form to the four winds referenced in the title. Walasse Ting’s accompanying text at the top of the spread adds a poetic dimension, invoking the winds as forces of movement, strength and renewal. The work reflects Indiana’s characteristic use of numbers, simple forms and vivid colours to transform familiar symbols into striking graphic compositions.

EUR 1,000