Pop Art Abstract Prints

Robert Indiana 1, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fra...

Robert Indiana 9, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included: Elegantly matted and fra...

Robert Rauschenberg Robert Rauschenberg at Leo Castelli (postmarked to artist Ludwig Sander), 1960 Offset lithograph poster 19 × 26 inches Unframe...

Corita Kent Yes to You, 1979 Color silkscreen Hand signed, numbered and uniquely inscribed with a heart doodle by the artist on the front. Artists Proof (aside from the regular editi...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This is a rare example of Pettibone's iconic Appropriation Print, as it's silkscreened and sculpted on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster...

Milton Glaser: Vintage original 1980s Milton Glaser poster designed by Glaser on the occasion of the release of Bach's complete keyboard works on digital recording. A timeless, highly decorative vintage Milton Glaser poster that is sure to stand out in any setting. Offset lithograph poster in colors. 36 x 24 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. Unsigned from an edition of unknown. Literature: Milton Glaser Posters, Glaser. Legendary graphic designer, illustrator, and art director Milton Glaser created some of the most recognizable iconography in America today —including the iconic I ♥ N Y logo —and countless posters and ad campaigns. Glaser changed the face of commercial art in the 1960s and ’70s, breaking with the conventions of modernism and drawing inspiration from a wide variety of art-historical and pop-cultural sources, from Art Nouveau to comic illustration and Chinese drawings. As a co-founder of New York magazine, Glaser designed...

Ed Ruscha Absolut Ruscha, 1988 Offset Lithograph in colors on wove paper Hand signed and dated by Ed Ruscha in pencil on lower right front Limited Edition of 200 (unnumbered) 45.25 x...

Robert Indiana 4, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and fr...

Richard Lindner Adults-Only, 1979 Offset lithograph poster Plate signature with date, right front Frame Included: held in vintage 1970s metal period frame This is a rare vintage post...

Roy Lichtenstein Finger Pointing, Works by Artists in the New York Collection for Stockholm, 1973, 2009 Offset lithograph poster 19 7/10 × 27 3/5 inches Unframed Poster for an exhibi...

Kenny Scharf Bad Girls, 1989 Lithograph done with 9 colors and 10 plates on Velin Arches Blanc paper Hand signed and numbered PP by Kenny Scharf on the front...

Christo Wrapped Paris Review (Deluxe hand signed edition), 1982 Lithograph and offset lithograph Hand signed and numbered 244/250 by Christo on th...

Christo Monuments and Projects, 1968 Rare Limited Edition Lithograph and offset lithograph Hand signed, dated and numbered 5/100 by Christo on the lower left front 23.25 x 18.5 inche...

Robert Indiana 3, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame Included This classic 1960s silks...

Christo and Jeanne-Claude The Umbrellas, Japan - USA (Hand Signed), 1991 Offset lithograph poster Boldly signed by Christo upper right 25 × 38 inches Unframed This rare vintage poster was published by Christo and Jeanne-Claude to promote and raise funds for Christo's famous Umbrellas Japan-USA project in the early 1990s. It is hand signed boldly in black marker "Christo" on the recto - upper right corner. This work was acquired from the Estate of Jacob and Aviva Baal-Teshuva, collectors, curators, authors, early supporters and good friends of Christo. Authenticity unconditionally guaranteed. ABOUT THE UMBRELLAS JAPAN-USA PROJECT: At sunrise, on October 9, 1991, Christo and Jeanne-Claude's 1,880 workers began to open the 3,100 umbrellas in Ibaraki and California, in the presence of the artists at both sites. This Japan-USA temporary work of art reflected the similarities and differences in the ways of life and the use of the land in two inland valleys, one 12 miles (19 kilometers) long in Japan, and the other 18 miles (29 kilometers) long in the USA. In Japan, the valley is located north of Hitachiota and south of Satomi, 75 miles (120 kilometers) north of Tokyo, around Route 349 and the Sato River, in the Prefecture of Ibaraki, on the properties of 459 private landowners and governmental agencies. In the USA, the valley is located 60 miles (96.5 kilometers) north of Los Angeles, along Interstate 5...

Use code FREESHIP at checkout for free shipping. (some exceptions apply) James Rosenquist Fahrenheit 1982 (Hand Signed card), 1982 Offset lithograph card Boldly signed in black mark...

Gerald Laing City Center Light Opera, 1968 Lime colored Screenprint on die-cut Mylar Hand signed, numbered 6/144 and dated in pencil on the front 25 × 35 inches Unframed Gerald Laing Biography Born in 1936, Gerald Laing attended the Royal Military Academy, Sandhurst 1953-1955 and after a short army career attended St Martin’s School of Art between 1960-1964. After art school, Laing lived in New York for five years and then became artist in residence at Aspen Institute...

After Andy Warhol Chanel No. 5 (Suite of Four Individual (Separate) Prints on Linen Canvas), 1996 Suite of Four (4) Separate Individual Limited Edition Offset lithographs in colors on wove paper affixed to elegant thin linen canvas backing, Each plate signed Andy Warhol 29 inches (vertical) × 22 inches horizontal (measurements here and above are for each print) Limited, special edition printing, exact number is undisclosed Unframed Dimensions apply to each of the four (4) prints in this one lot. “Chanel N˚5,” A special edition, printed under the auspices of the Warhol Foundation...

Larry Rivers Happy 20th Birthday Lincoln Center, 1979 Lithograph on wove paper Hand signed, numbered 80 from the limited edition of 108 and dated on the front by Larry Rivers 26 × 35 inches Unframed This hand signed and numbered limited edition lithograph was commissioned by the prestigious Vera List print program in NYC which invited artists to create works that would help fundraise for Lincoln Center, which many New Yorkers consider the cultural center of the city. This is Larry Rivers' clever homage to...

Roy Lichtenstein Paintings Drawings Collages Prints at Kent State University, 1976 Historic Offset Lithograph Poster 21 × 15 3/4 inches Unframed Limited edition highly collectible vintage Roy Lichtenstein poster. It was acquired from the estate of Ohio artist Joseph O' Sickey, a personal friend of Roy Lichtenstein, who was involved with the creation of the show. Very few of these posters remain, and in fact the only other one we have seen in recent years also came from O'Sickey's estate. "Lichtenstein", 1976, exhibition invite/poster, Kent State University School of Art, January 4-23-1976, lithograph on paper. This image is a 2 color version of Lichtenstein's 1972 work "still life with goldfish bowl and painting of a golf ball", which was inspired by Henri Matisses's 1912 work "goldfish." In very good condition with original folds, as issued Over the course of his career, Roy Lichtenstein designed 70 posters...

David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed by the artist on the lower right front Elegant hand mad...

David Hockney New Work With A Camera (Hand Signed), 1983 Offset Lithograph Poster Hand signed by the artist on lower right front 39 × 24 1/2 inches Unframed This offset lithograph p...

Mel Ramos Batman and Robin (Hand signed Postcard), ca. 1991 Offset Lithograph on Card Hand signed by the artist on the lower front Held in original v...

Red Grooms "Expedition" (aka "EAT", aka "Stockholm Print"), 1973 Silkscreen on 100% rag paper Pencil signed, dated and numbered recto (front); Stamped in black on verso "© Copyright ...

Robert Indiana 0, from the original Numbers portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 (unsigned) Frame included: Elegantly matted and fra...

Jasper Johns Jasper Johns at Ileana Sonnabend, 1962 Offset Lithograph exhibition poster/invitation Plate signed on the front 31 3/4 × 21 inches Unframed This rare, collectible vintage poster...

By Damien Hirst NORCAMPHOR, 2011 Woodcut on paper 61 x 61 cm Edition of 55 Signed by the artist on the front

Robert Rauschenberg International Very Special Arts Festival, 1989 Lithograph on wove paper Signed, dated and numbered from the edition of 275 in graphite pencil on the front 38 1/4 ...

Robert Indiana 8, from the Numbers Portfolio (Sheehan 46-55), 1968 Color Silkscreen on Wove Paper Limited Edition of 2500 Not Signed Frame included: Elegantly matted and framed in wh...

A silkscreen, pencil signed print of Donald Sultan's iconic "Poppy Series," numbered 40/80. Features his signature bright yellows and oranges in a particularly minimalist design.

Peter Saul Golden Gate Bridge, 1968 Five color lithograph on German etching paper with deckled edges with collectors press chop mark Hand signed, titled and numbered "Artist Proof" lower front; also bears Collector's Press chop mark, and chop mark of master printer Tony Ko Frame Included: floated and framed in the original wood frame Provenance: from the Estate of the legendary California artist, Roy DeForest Accompanied by a copy of the publisher's documentation sheet (see image) This work is one of three hand signed Artist's Proofs, aside from the regular edition of 50. It is one of Peter Saul's most celebrated prints; the not so subtle at all symbolism speaks for itself, such as the gigantic dollar sign and wagging tongue (money talks loudly), set against San Francisco's iconic Golden Gate bridge. This print does not often appear on the market, as so many from this edition are already in the permanent collection of major museums and institutions. Other examples of this work were featured in the exhibitions: "Print Retrospective, 1966-2010", from September 16 – December 22, 2011 at the Carl Solway Gallery in Ohio, and "Peter Saul: Prints and Drawings, 1960 -1975", from February 26 – April 11, 2009, at The George Adams Gallery...

Roy Lichtenstein Gallery 26 Exhibition Poster, 1950 Off-set Lithograph Poster (Mounted to Cardboard) 10 1/2 × 31 inches Unframed This extremely rare poster/flyer is an advertisement ...

Claes Oldenburg Houseball with Fallen Toy Bear, 2013 Color lithograph on Japanese watercolor paper Hand signed and numbered 21/50 by Claes Oldenburg on the ...

Gilbert & George Gilbert and George Major Exhibition, Tate Modern (Hand Signed), 2007 Offset Lithograph Poster Hand signed by Gilbert & George on the front 30 x 20 inches Unframed E...

James Rosenquist Castelli Gallery poster (hand signed and inscribed by the artist to the art dealer Richard Feigen), 1980 Offset lithograph poster Signed, dated and inscribed by Jame...

Larry Rivers What Did I Do? The Unauthorized Biography, 1992 Lithograph on wove paper Hand signed, numbered 3/325 and dated on lower right front Frame In...

Claes Oldenburg Lithograph printed in colors on Rives wove paper Signed in pencil Oldenberg (lower right); numbered 88/100 (lower left) 33 × 23 inches Unframed Executed in 1982, this...

Larry Rivers Larry Rivers Hirshhorn Museum and Sculpture Gallery (Hand Signed), 1974 Silkscreen in colors on wove paper Hand Signed, annotated HC and numbered in white marker from th...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Robert Rauschenberg was drawn to poster design throughout his career, viewing the medium as a unique opportunity to collaborate with printmakers and reach a larger audience. Rauschenberg’s posters are rarely legible at first glance and require repeat viewing to uncover their many hidden symbols and details. Composed of layered images and text, Rauschenberg’s first poster was a black-and-white advertisement for his first retrospective at the Jewish Museum in 1963, and he continued to create exhibition posters throughout his life. “We were doing a poster for every show, and those posters were going out all over the country, and people were thinking we must be this amazing gallery instead of a freight elevator,” Rauschenberg remembered of this era. Over the next 35 years, the artist created over 100 posters celebrating iconic historical moments, including the first landing on the moon and the first Earth Day, in his signature collage aesthetic. Vintage 1975 poster...

Tracey Emin Museum of Contemporary Art Poster (Hand Signed) Offset Lithograph in Semi-Gloss Paper Signed boldly by Tracey Emin in white grease marker on the front 24 x 18 inches Unfr...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

Kenny Scharf Absolut Vodka, 1987 Offset Lithograph in colors on wove paper Hand signed and dated by artist on lower right front 45 × 33 inches Unframed This rare vintage pencil signe...

Roy Lichtenstein Historic early 60s gallery poster, 1962 Offset Lithograph 21 4/5 × 17 inches Unframed This is a highly collectible, historic 1962 exhibition invitation by the Mi Cho...

Empire Maker bursts with the vibrant energy of a beautiful blonde woman who commands attention. Donning stylish sunglasses that conceal an air of mystery, she radiates confidence and...

James Strombotne Love, 1965 Lithograph with Deckled Edges Hand signed, dated and annotated "Bon a Tirer" on the front; with publishers blind stamp 30 × 22 1/4 inches Unframed This is...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Neue Nationalgalerie (Compositions I)" Year: 1969 Medium: Original Linocut, Exhibition Poster on light wove paper Limited edition: Unknown Printer: likely Linol-Druck Berek, Berlin, Germany Publisher: Neue Nationalgalerie, Berlin, Germany Framing: Recently framed in a contemporary dark brown wood moulding Framed size: 34.25" x 24.75" Sheet size: 33.07" x 23.5" Condition: Some light edge wear with a few minor tears at upper right edge. Some light foxmarks visible in white center. In otherwise very good condition with strong colors and full margins. As one of our gallery specialties, this is the rarest original vintage Lichtenstein poster we have ever acquired in nearly 50 years. Extremely rare. An important poster of Pop Art history Notes: Provenance: private collection - San Francisco, CA. Printed in two colors: green and black. Poster produced for a special exhibition of various artists' work "Sammlung 1968 Karl Ströher" at the Neue Nationalgalerie, Berlin, Germany from February 29 - April 14, 1969. The image featured on this poster is a variation with added green color of Lichtenstein's 1964, 68.13" x 56.25", magna on canvas painting "Compositions I". This painting "Compositions I" was part of Karl Ströher's collection exhibited at the show. Within a sleeve lower center on verso, this artwork comes with its rare original accompanying exhibition catalog: over 200 pages with pictures of all of the 176 works of art exhibited at the show including "Compositions I", (No. 32). This monumental exhibition included the work by such artists as Jean Dubuffet, Yves Klein, Morris Louis, Piero Manzoni, Robert Matta...

Claes Oldenburg Striding Figure, from Conspiracy, the Artist as Witness Color Silkscreen with enamel inks on CM Fabriano cotton watermarked 100% rag paper Signed and numbered by the artist, front; bears distinctive blind stamp of the publisher, front; title and artist's copyright stamp on the back, APXII 28.5 x 20.75 inches Reference Axsom 76; Number 21 in "Printed Stuff : Prints, Posters and Ephemera by Claes Oldenburg : A Catalogue Raisonne 1958-1996" by Claes Oldenburg, Richard H. Axsom, David Platzker. New York / Madison, NY / WI : Hudson Hills Press / Madison Art Center, 1997, p Unframed Claes Oldenburg's 1962 "Striding Figure", a five-color silkscreen on watermarked 100% handmade rag paper, was proofed by the artist by hand in 1971 for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman...

This captivating work offers a view into a vibrant world where elegance meets boldness. A beguiling woman, perched upon a balcony, commands attention with her coiffed short brown hai...

Jim Dine Complete Graphics poster (hand signed by Jim Dine), 1970 Offset lithograph poster (hand signed by Jim Dine) 39 1/2 × 26 inches Frame included: held in the original vintage m...

Malice Palace depicts an electrifying aura surrounding a powerful brunette woman, poised in a mesmerizing 3/4 pose that exudes an air of commanding authority. She is a vision of beau...

This work depicts a captivating portrait that exudes power and allure. A confident brunette woman, donning a cream-colored travel suit and a vibrant red ribbon adorning her hair, emb...

Robert Rauschenberg and Cris Gianakos RAUSCHENBERG (Scarce and collectible early invitation), 1970 Offset Lithograph Invitation 8 7/10 × 11 9/10 inches Unframed Offset lithograph invitation created on the occasion of Robert Rauschenberg's exhibition at SVA's Visual Arts Gallery in 1970. The poster was designed by Cristos Gianakos, who was also a professor at SVA, and the show was curated by Felice Wender, the director of Dayon's Gallery 12 in Minneapolis. The invitation states that "after completing its New York debut, the show will open at the School of the Art Institute of Chicago in January 4, 1971 and continue through January 29, 1971. In May, 1971, Dayton's Gallery 12, Minneapolis, Minnesota will exhibit the new Rauschenberg works..." The text on this invitation additionally states that Rauschenberg said in a written statement about these works: "The image and the words cooperate to construct a flat re-reading of the facts plus familiar passing insignificancies that control our day. Information, originally engaged in a daily rhetorical screen to eliminate as much direct feeling and response as possible, re-exposed to encourage consideration..." In nearly a decade and a half of buying and selling art...

JIM DINE This is How I Remember Now (Hand Signed), 2008 Offset Lithograph Poster for exhibition of photographs by Jim Dine 32 × 24 inches Signed boldly in white marker by Jim Dine on the front Unframed Published by: Det Kongelige Bibliotek, Denmark Provenance: Jim Dine personally signed it for the present owner in 2012 at a special poetry reading that the artist gave at the Dia Art Foundation. Extremely rare when hand signed! This poster was produced in conjunction with a 2008 German exhibition of Jim Dine's photographs. Jim Dine personally signed it for the present owner in 2012 at a poetry reading that the artist gave at the Dia Art Foundation, so provenance is direct and impeccable. The text on the poster reads "This Is How I Remember Now Portraits", with a portrait of the artist juxtaposed in the background - and is perhaps as a commentary on the elusiveness of memory in life, art and photography. The poster is accompanied by a copy of the flyer publicizing the event where Jim Dine signed...

Jim Dine Untitled from the Castelli Sonnabend Collection, 1973 Screenprint on rag paper in original portfolio sleeve Hand signed and numbered 158/300 by Jim Dine on the front. Printe...

Roy Lichtenstein (1923-1997) was one of the most successful and influential artists of the 20th century, helping pioneer and define Pop Art in the 1960s. Lichtenstein's signature st...

Keith Haring Fun Gallery 1983: Original 1983 Keith Haring illustrated exhibition poster published on the occasion of Haring's historic 1983 show at the Fun Gallery in the East Village. A classic array of early Haring imagery that reveals red and black interlocking figures. A rare example in very good overall vintage condition. Offset lithograph in colors on smooth wove paper. 23 x 29 inches. Only some minor signs of handling; in otherwise very good overall vintage condition with strong colors; one of the better examples we've come across. Stored away from light; never mounted or framed. Unsigned from an edition of unknown; scarce. Catalog Raisonne: Keith Haring: Posters (Prestel Publishing). References: Included in the collection of the Cooper Hewitt, Smithsonian Design Museum. About the Fun Gallery: Historic, short-lived, East Village gallery known for giving Keith Haring, Basquiat & Kenny Scharf some of their first solo shows. “FUN Gallery was a place where neighborhood kids, downtown artists, b-boys, rock, film, and rap stars mixed with museum directors art historians and uptown collectors at wild openings featuring artists like Futura, Fab 5...

David Hockney Los Angeles Music Center Opera Poster (Hand signed by Hockney + 40 artists), 1987 Off-set Lithograph Poster The signatures on the poster in...

Robert Indiana Robert Indiana (Monograph hand signed & inscribed), 2006 Hardback book Hand signed, dated and inscribed by artist on title page, with a star drawing. 13 1/4 × 11 1/4 ×...