The artist created a maquette for the Skylab lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

Professionally Framed with Conservation Tru Vue glass

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The artist created a maquette for the Space Taxi lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

Professionally Framed using Conservation Tru Vue glass.

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The artist created a maquette for the EVA lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

Professionally Framed with Conservation Tru Vue glass

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The artist created a maquette for the Moon Landing serigraph. From this maquette and under the supervision of Alan Lurie, screens were cut and then proofs were pulled. The artist corrected the first proof by hand, changing the colors and a number of other items. A second proof was pulled and the entire edition was then pulled one color at a time under the supervision of Alan Lurie at the Chicago Serigraph Workshop. Each print thereafter embossed. In addition, silver foil was applied by hot stamping.

Each print in the edition was inspected and initialed by hand in pencil by Loewy in Palm Springs, California, February 1979. Professionally Framed with Conservation Tru Vue glass

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The artist created a maquette for the Air Force One lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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The artist created a maquette for the lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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The artist created a maquette for the Hydrofoil lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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The artist created a maquette for the Avanti lithograph after his original 1962-1963 design. Using this design as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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The artist created maquettes after his original 1962-1963 designs. Using the designs as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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The artist created maquettes after his original 1962-1963 designs. Using the designs as a model, mylar sheets (one for each color), were prepared by Alberto Barrera, under the artist’s direction, and then chemically transferred onto emulsion-coated aluminum lithographic plates at the American Atelier. Silver foil was applied by hot stamping.

Proofs were pulled. Corrections and additions were made by hand to the first proofs by the artist. A second proof was pulled under the supervision of Technical Director, Mauro Guiffreda at the American Atelier. Finally, each print in the edition was inspected and initialed by hand in pencil by Loewy at The American Atelier in December 1978.

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