• Cover of Art and Artists, Volume One Number Three, June 1966, Venice Biennale Number, showing a close-cropped reproduction of Roy Lichtenstein's comic-book painting of a blonde woman's face with Ben-Day dot shading, red lips, and a striped ribbon in her hair, with the masthead ART and artists in large black sans-serif type at top, and VENICE BIENNALE NUMBER in bold black capitals below, priced 4s $1.
  • Interior spread from Art and Artists, June 1966, pages 12–13, showing the opening of the feature "Lichtenstein: The Printed Image at Venice," with a black-and-white reproduction of Drowning Girl, 1963, oil on canvas, collection Mr and Mrs C.B. Wright, showing a woman's face submerged in stylised waves with a speech bubble reading "I DON'T CARE! I'D RATHER SINK THAN CALL BRAD FOR HELP!," alongside critical text in two columns.
  • Interior spread from Art and Artists, June 1966, pages 8–9, showing the "In View" column with two black-and-white installation photographs: top image showing Peter Phillips, XX, 1965, at Kornblee Gallery, New York, and bottom image showing Gerald Laing, 1966, at Richard Feigen Gallery, New York, alongside a column of critical text discussing the New York gallery scene and the Venice Biennale.
  • Interior page from Art and Artists, June 1966, showing a colour plate reproduction of Helen Frankenthaler, Sun Dial, 1963, 64 × 64 inches, Abbot Hall Gallery, Kendal, depicting an abstract field painting with yellow, green, red, and blue stained washes on a pale ground, printed on cream paper with caption below.
  • Interior spread from Art and Artists, June 1966, pages 24–25, showing the feature "Anthony Caro at Venice," with a colour reproduction of Yellow Swing, 1965, painted steel, 71 × 74 × 160 inches, Tate Gallery, depicting a large abstract steel sculpture of yellow beams and a diagonal element on a wooden floor, alongside critical text in two columns discussing Caro's relationship to American sculpture and Clement Greenberg.
  • Interior spread from Art and Artists, June 1966, pages 34–35, showing the feature "Our Period Style," with a black-and-white photograph captioned "Andy Warhol, View of Exhibition, Clouds, 1966, Leo Castelli Gallery," showing silver helium-filled pillow balloons floating in a gallery space, alongside a black-and-white photograph of Carl Andre, Untitled, 1966, Limestone bricks, at Tibor de Nagy Gallery, with critical text on Primary Structures and the New York sculpture scene.
  • Reverse of Art and Artists, June 1966, showing a full-page advertisement for Rowney Cryla Colours, a range of acrylic artists' paints, with product descriptions and a list of Rowney stockists, printed in black and white on cream paper, with light age toning and edge wear consistent with the magazine's vintage condition.
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Hansom Books

ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number

Artist
Roy Lichtenstein
Publisher
Hansom Books
Place & year
London, 1966
Type
Periodical
Format
Staple-bound, 90 pp.; offset-printed illustrated wrappers, black-and-white and colour illustrations; Vol. I, No. 3 (Venice Biennale Number)
Size
21 × 28 cm
Featuring
Roy Lichtenstein
Condition
Good vintage condition: light creasing, rubbing, edge wear, minor spine tears, and age toning throughout; internally clean and complete.
Register
TNR-2026-0240 · 18 June 2026
£130
£130
Sale Placed
Register No. TNR-2026-0240
Registered 18 June 2026
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Notes

Art and Artists, Vol. I, No. 3. London: Hansom Books, June 1966. Venice Biennale Number.

Published to coincide with the 33rd Venice Biennale. The cover carries a Roy Lichtenstein image at the moment when Pop was becoming an international exhibition language rather than only an American phenomenon. Contents include features and documentation around Lichtenstein, Anthony Caro, Helen Frankenthaler, Andy Warhol’s Clouds, Peter Phillips, Gerald Laing, Carl Andre, and the wider New York presence in Venice. Rear cover: Rowney Cryla Colours advertisement.

The issue converts the Biennale into printed form: cover image, captions, criticism, advertisements, and institutional names arranged for circulation. It is not a document of the exhibition. It is a portable version of it — a surface on which the same names, the same works, and the same arguments pass through a different economy of attention. Pop, Minimalism, Colour Field painting, and post-war sculpture recorded before their later canonisation, when the terms were still being negotiated through pages, reviews, and reproductions.

A primary-source object from the early infrastructure of contemporary art publishing.

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