Art by Medium: Offset

Paper Size: 36 x 24 inches ( 91.44 x 60.96 cm ) Image Size: 30.75 x 22.25 inches ( 78.105 x 56.515 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

Keith Haring record art 1983: David BOWIE "Without You" A Rare Highly Sought After Vinyl Art Cover featuring Original Artwork by Keith Haring. Rare Japan 1st Pressing 1983 accompanied by its original record album: Medium: Off-Set Lithograph. Dimensions: 7 x 7 inches Plate signed on lower left & dated K. Haring 1983. Cover: Minor signs of handling. Very good overall vintage condition. Also includes the original record in very good to excellent condition. RARE as such. Literature: Taschen Art Record Covers (pg. 214). Truly vibrant colors that make for stand-out Keith Haring wall art. Keith Haring Album Art: a brief history:  Whether collaborating with Grace Jones, Andy Warhol, and Jean-Michel Basquiat, regularly frequenting clubs like Paradise Garage alongside close friend Larry Levan, or sketching DJ robots, New York artist and activist Keith Haring’s work was deeply entwined with the music world lending his vision to sounds by everyone from David Bowie to Run DMC. Looking for something cool to complement this work? Please feel free to browse additional items like this from Jean Michel Basquiat, Andy Warhol, Damien Hirst, Keith Haring & more on our 1stDibs gallery page.  Related Categories Figurative Drawings. Keith Haring best buddies. Graffiti. 1980s. Kaws. Vintage Keith Haring. Keith Haring posters. Pop Art. keith Haring David Bowie.

Tracey Emin One Thousand Drawings By Tracey Emin (Hand signed and inscribed for Nadine), 2009 Hardback monograph with dust jacket (ink signed and inscribed by Tracey Emin) Hand signed, dated and inscribed to Nadine by Tracey Emin 7 × 10 × 2 1/2 inches This is the First Edition of the hardback monograph with dust jacket "One Thousand Drawings" by Tracey Emin - featuring reproductions of 1000 of her drawings. It was hand signed, dated and inscribed in ink to the current owner - our gallery director - at the 2011 Marc Jacobs pop up bookstore in Manhattan. (see attached article for details) Inscription reads: For Nadine Love Tracey Emin 2011 NY X Publisher's Blurb: Tracey Emin has stirred controversy as well as acclaim since she rose to fame as the most highly publicized of the infamous Young British Artists. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention since the early 1990s for being consistently engaging, original, and startlingly direct. Her work has succeeded over the years in many media—from films to appliqués, embroideries, and installations—but it is in her works on paper that the honesty and frankness that have come to characterize her work are most fully realized. Edited by the artist herself from an archive of work stretching back before the beginnings of her career in the late 1980s, A Thousand Drawings is at once a collection of Emin’s works on paper, an exposé of her life as an artist, and a collectible artifact in itself. Many of these works on paper shed light on well-known multimedia pieces, previously studied in Works 1963–2006, published by Rizzoli in 2006. Stripped of the distractions of form and context, her bare and enigmatic drawings are presented on bible-thin paper in a uniquely beautiful slipcased volume, with an introduction by the artist. From considered self-portraits to pen-and-ink drawings and informal studies on lined notebook paper, this remarkable collection is as much a catalogue of Emin’s preoccupations as it is a monument to her raw and evocative talents as an artist. Review “Emin-an artist who is not afraid to wear her heart on her sleeve, or, indeed too embroider it on a blanket-personally chose the pictures for this book, and the delicate sketches are at once a glimpse of the profundity she’s capable of, and a reminder of vulnerability.” ~Nylon Magazine About the Author Tracey Emin was born in London in 1963. Nominated for the Turner Prize in 1999 and chosen to represent Britain at the 52nd Venice Biennale in 2007, Emin is also a member of the Royal Academy of Arts. The author of several books, including Strangeland, her memoir, she contributes regularly to The Independent newspaper and lives and works in London. Publisher ‏ : ‎ Rizzoli; First Edition (July 28, 2009) Language ‏ : ‎ English Hardcover ‏ : ‎ 2016 pages Provenance: Personally inscribed to the present owner (our gallery director) at Bookmarc, NY, a pop up art...

Rare exhibition poster from the series Collection of European Masters, published for the Kunstsammlung Nordrhein-Westfalen by Achenbach Editions. The museum features temporary and p...

This strong unforgiving depiction of three prostitutes during the Weimar Society, a period between the end of World War I and the Nazi rise to power. Paper Size: 25.5 x 31.5 inches...

Paper Size: 19 x 25 inches ( 48.26 x 63.5 cm ) Image Size: 15.5 x 22.25 inches ( 39.37 x 56.515 cm ) Framed: No Condition: A: Mint Additional Details: Reproduction from the 347...

Paper Size: 4.25 x 6 inches ( 10.795 x 15.24 cm ) Image Size: 4.25 x 6 inches ( 10.795 x 15.24 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling A...

Sold unframed. For Shirin Neshat, "art became a kind of an excuse to build a relationship, even from a distance," to her homeland and history. Neshat grew up in pre-revolutionary Ir...

80 x 60 cm Off-set lithography Printed on 200g Munken Lynx paper Narayana Press in Denmark David Shrigley is a British visual artist known for his distinctive, whimsical, and often ...

In 1996, Meurice was commissioned to design the official poster for the French Open at Roland Garros. His design brought a lively and modern interpretation to the tournament, charact...

Note: This is from the hand signed and numbered limited edition of only 50 - extremely scarce collectors item; not to be confused with the larger edition signed (but not numbered) wo...

Keith Haring designed a poster for the 1986 "Crackdown on Crack" concert in New York City, organized by concert promoter Bill Graham to combat the crack-cocaine epidemic. Haring's po...

Kate Moss vinyl record art by Mert and Marcus (Mert Alas and Marcus Piggott) Off-set print on vinyl record. Measures: 12 inches in diameter. Excellent condition. Published by Visionaire Fashion, 2007. A very cool frame piece. About Mert & Marcus, as they are known in the industry, have worked for W, American Vogue, Pop, Numero and Arena Homme, among many other titles. Their commercial clients include Louis Vuitton , Gucci, Pucci, Versace, Missoni, Giorgio Armani , Roberto Cavalli, Fendi, Kenzo, MAC and Miu Miu. Their aesthetic is highly polished, colour-saturated and hyperreal. The photographers were both born in 1971, Alas in Turkey and Piggott in Wales. The pair met in 1994 in England. At the time Piggott was a photographer’s assistant and Alas was a fashion model, and the two quickly built a rapport and decided to work together. Their joint abilities were clear from the beginning. The first photos the duo submitted to Dazed & Confused made the cover. Related categories Fashion Photography. Supermodels. Mario Testino. Mario Sorrenti...

Paper Size: 25 x 33.5 inches ( 63.5 x 85.09 cm ) Image Size: 19.5 x 30.5 inches ( 49.53 x 77.47 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition five colo...

An invitation to "Andy Warhol: A Print Retrospective 1963-1981" held at the Leo Castelli Gallery in New York City, printed with the iconic image of Marilyn Monroe. Published by Caste...

The Original San Francisco United Air Lines Vintage Poster, 1967 Travel, is in very good condition, A-, and backed in Mid-Century Modern Linen. Ready to frame. Capture the timeles...

Four Reddish Arches a vintage offset print after Antoni Tàpies, printed on handmade paper and part of a deluxe edition of reproductions published in 1982 and limited to 2.000 specime...

This limited edition color lithograph, titled The Little Prince and the Wild Birds, is a beautiful reproduction from the beloved book Le Petit Prince by Antoine de Saint-Exupéry. Thi...

Paper Size: 28 x 23.5 inches ( 71.12 x 59.69 cm ) Image Size: 26.5 x 23.5 inches ( 67.31 x 59.69 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Medium: offset lithograph (after Leger). Printed on Velin bouffant paper from the Papeteries de Hauteville and published by Edito-Service Geneve in 1980. This reproduces one of the original Fernand Leger...

Original vintage poster: 24 Heures du Mans; 10-11 Juni 1978; Automobile Club De L'Ouest. Artist: Lardrot. Linen backed French vintage automotive racing poster. Event: 24 Heu...

Damien Hirst, Gagosian Gallery, New York 1996, Announcement Card Rare vintage 1990s Damien Hirst Gagosoan announcement card published on the occasion of: 'No Sense of Absolute Corru...

This is an original poster featuring an iconic photograph by Sam Shaw of Marilyn Monroe. The image captures Monroe on the beach in a white swimsuit, standing while holding the swimsu...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ships rolled in a tube measuring 37...

Sku: AW1633 Artist: Jasper Johns Title: Paintings and Drawings (Green Angel) Year: 1990 Signed: No Medium: Offset Lithograph Paper Size: 39 x 26 inches ( 99.06 x 66.04 cm ) Image Siz...

Banksy (after) Visit Historic Palestine Print On the verso of the print it is double stamped with the Walled Off Hotel Emblem. It has a stamp in the lower left corner that reads,...

This poster features Andrew Wyeth's *Karl's Room*, an intimate and evocative work that captures the quiet, poignant atmosphere of a personal space. Presented in collaboration with th...

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph poster (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by...

David Salle Hand Signed Poster by David Salle upper left, 2000 Offset Lithograph Signed by the artist and dedicated to Nadine 25 × 30 inches Unframed This is a uniquely signed David...

Artist/Designer; Manufacturer: Massimo Vitali (Italian, b. 1944) Marking(s); notes: artist's stamp verso; ed. 50/120; 2006 Materials: offset lithograph Dimensions (H, W, D): 26.75"h,...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

This radiant purple pink poster was designed by Jim Dine for a production of Gilbert and Sullivan at New York City Center in 1968. The stripe down...

Contemporary Modern Print on Canvas with Venice city. "Memories about Venice." The print will be shipped in on stretched and ready to hang. Limited Edition collection of 50, in coope...

Original first edition printing of Scandinavia by SAS, Scandinavian Airlines System. The first edition has a greyish panel along the bottom. The poster also features the SAS logo...

Artist: (after) David Hockney (English, 1937-) Title: "Contemporary British Drawings (Tel Aviv Museum) (Celia)" Year: 1980 Medium: Original Offset-Lithograph, Exhibition Poster on smooth wove paper Limited edition: Unknown Printer: L. Malis. Photolitho Reprocolor LTD., Tel Aviv, Israel Publisher: Tel Aviv Museum of Art, Tel Aviv, Israel Reference: "Hockney Posters" (1987) - Baggot No. 45; "David Hockney: Poster Art" (1995) - Baggot No. 59 Sheet size: 27.25" x 20" Condition: Some light handling creases. In excellent condition Notes: Poster produced for a special exhibition of Hockney's work "Contemporary British Drawings" at the Tel Aviv Museum of Art, Tel Aviv, Israel during the Summer of 1980. The image featured on this poster is Hockney's 1973 drawing "Celia in a Black Dress and Lace Collar". Celia Birtwell, CBE, who was a close friend of David Hockney, is a British textile designer and fashion designer, known for her distinctive bold, romantic and feminine designs, which are influenced by Picasso and Matisse, and the classical world. She was well known for her prints which epitomised the 1960's-1970's. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Known for his photo collages and paintings of Los Angeles swimming pools, David Hockney is considered one of the most influential British artists of the 20th century. Born in Bradford, England, in 1937, David Hockney attended art school in London before moving to Los Angeles in the 1960s. There, he painted his famous swimming pool paintings...

This colorful foil-embossed poster was created by the effervescent Austrian-born New Zealand artist Friedensreich Hundertwasser. Hundertwasser (1928-2000) stood out as a truly indivi...

Still life is a vintage offset print, realized in 1929 reproducing the original watercolor by Giorgio Morandi. Very Good conditions.

Offset lithograph, signed in pencil by Newton. Acquired from a private collection, Paris, France.

Original vintage travel poster: Chicago - Fly TWA. UP UP and Away Trans World Airline. Artist: David Klein. Size 25" x 40" Dated 1960's. ...

This poster, titled Interiors, was created by Richard Hamilton to advertise his exhibition at Galerie Maeght, held from January 22 to March 6, 1981, at 14 rue de Teheran, Paris, Fran...

Original French poster of Rene Gruau's Frou Frou. Centre de L"Affiche; Mairie de Toulouse. Mai and Juin 2002. Gruau a.k.a. RENATO DE ZAVAGLI. This original French poster of Rene ...

This is an assortment of 4 Posters by Andy Warhol, each piece described as follows: Andy Warhol - Queen Ntombi Twala Of Swaziland - 1986 Offset Lithograph 32.5" x 23.5" Unsigned Of...

This very large advertisement poster was created by Mobil in 1981 to promote Nevil Shute's A Town Like Alice, presented by Mobil Masterpiece Theatre. The poster serves as a striking ...

Raymond Pettibon: Rare early Black Flag flyer: Original punk flyer / handbill illustrated by Raymond Pettibon for a gig by Black Flag at The Mabuhay, San Francisco, CA: Fri Oct 3, 1980. Offset-printed 11 x 8 ½ inches (28 x 21.6 cm). Fair overall vintage condition; contains age related wear and torn corners. Unsigned from an edition of unknown. Rare. Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic logo: "Before I knew what Black Flag was I remember walking around Hollywood and seeing Raymond's flyers and being like, 'What the fuck is that?'… Those flyers made me feel like something is going on and it's romantic and it's mysterious and it's heavy and I don't know what it is but I wanna know." About Raymond Pettibon (Americanb. 1957) Having emerged from the Southern California DIY culture and its punk-rock sensibility, Raymond Pettibon fuses together youthful edginess and political engagement. Drawing from disparate cultural sources—from Marcel Proust to the Bible—the artist’s cartoon-inspired ink drawings on unframed paper recall the look of fanzines and concert flyers...

Basquiat Record Art 1983/2001: 2001 2nd pressing released in limited quantity. Beat-Bop, is a 10-minute track synthesizing various instruments and rhyming patterns, for which Basqui...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Exhibition poster depicting ""Balloon Dog (Red)"" by Jeff Koons, a piece from his ""Celebration"" series which was Initiated in 1994 and completed in 2000 with a total of five Balloo...

Original Don't Panic (publisher) envelope these posters were issued in included. Wonderful double sided print. Forgive Us Our Trespassing printed on bottom of boy praying side. Has B...

Vintage offset lithograph postcard published by Art Unlimited Amsterdam. Printed in Holland. The postcard is framed in a black wood frame with a front profile of 1 inch and a side pr...

Paper Size: 35.5 x 23.5 inches ( 90.17 x 59.69 cm ) Image Size: 22.25 x 22 inches ( 56.515 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: Published by te Neues Publi...

Ray Parker Ray Parker at Molly Barnes: Rare vintage 1960s LA exhibition poster, 1968 Offset lithograph Printed by Contemporary Art Lithographers, Minneapolis, Minnesota 36 × 24 inche...

Keith Haring New York City Subway Drawings, 1983: Rare early exhibition catalog/pamphlet illustrated by Keith Haring on the occasion of: "Keith Haring / New-York City Subway Drawings...

Paper Size: 26.75 x 16.25 inches ( 67.945 x 41.275 cm ) Image Size: 26.75 x 16.25 inches ( 67.945 x 41.275 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Paper Size: 20.75 x 15.75 inches ( 52.705 x 40.005 cm ) Image Size: 19.75 x 14.75 inches ( 50.165 x 37.465 cm ) Framed: Yes Condition: A: Mint Additional Details: Published and prin...

Original “The 3rd Man”, 1949, linen-backed vintage one-sheet movie poster "The 3rd Man". NSS: # 49/452. Excellent condition with restored original fold m...

Basquiat record art 1983/2005: This Basquiat Beat Bop record was published c.2005 featuring a RARE limited edition highly decorative 24 x 24 inch (61 x 61 cm) double-sided fold-out p...

Frank Stella Large Limited Edition Hand Signed Whitney Museum Print, 1985 Offset Lithograph Hand signed, dated and numbered 93 from the edition of 100, lower left front 75 7/10 × 52 ...