Art by Medium: Offset

Paper Size: 20 x 29.75 inches ( 50.8 x 75.565 cm ) Image Size: 17.25 x 29.75 inches ( 43.815 x 75.565 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Add...

Yamagata’s posters, known for their vibrant colors and intricate details, have become highly collectible. They promote various exhibitions and events, further establishing his reputa...

Kimber Smith (Hand signed and inscribed), ca. 1974 Offset Lithograph Poster. Hand Signed. Inscribed. Hand signed and inscribed on lower recto (front). Inscription reads: "Greetings ...

Nudes of Women is a mixed colored photype print by the Sicilian artist Renato Guttuso. Good condition. Image Dimensions: 23 x 29 cm. Not signed. Renato Guttuso (Bagheria, Palerm...

Vintage poster realized by Galleria Rondanini in 1978. Offset print. Excellent condition.

Héliogravure on vélin paper. Inscription: Unsigned and unnumbered, as issued. Paper Size: 15.75 x 11.75 inches. Notes: From the folio, Erwin Blumenfeld, Electa Editrice Portfolios, 1...

Royal Academy Exhibition Poster By David Hockney David Hockney is a British painter, draftsman, and photographer celebrated for his vibrant depictions of California swimming pools...

Balthus, born Balthasar Klossowski de Rola in 1908, was a French painter renowned for his classical style and controversial subject matter. His works often depict young girls in intr...

This rare, original offset lithograph poster was produced for Robert Rauschenberg’s Gluts exhibition at Leo Castelli Gallery, New York, held from November 1–22, 1986. Printed on tran...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Museo Picasso. Palacio Aguilar.', 1966 Four-color offset printing on paper 30 x 21.5 in. (76 x 54.5 cm.) Unframed Ref: PIC2001-P010 Conservatio...

Paper Size: 33.5 x 24.5 inches ( 85.09 x 62.23 cm ) Image Size: 33.5 x 24.5 inches ( 85.09 x 62.23 cm ) Framed: No Condition: A: Mint Additional Details: Walton Ford exhibition...

Paper Size: 19 x 25 inches ( 48.26 x 63.5 cm ) Image Size: 14.5 x 22 inches ( 36.83 x 55.88 cm ) Framed: No Condition: A: Mint Additional Details: From a series of paintings ti...

Presenze is a print realized by Franco Fontana, in 1981. Offset print. Rondanini Galleria D'arte Contemporanea - Roma. Coloured poster from a photograph by Franco Fontana (Modena, ...

Vintage offset print, from "Valentina" to "O", in a vintage poster realized in 1976 after Guido Crepax., in occasion of his exhibition at Galleria Rondanini, Rome.  Very Good condit...

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...

Paper Size: 22 x 28 inches ( 55.88 x 71.12 cm ) Image Size: 16 x 24 inches ( 40.64 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Paper Size: 31.75 x 23.5 inches ( 80.645 x 59.69 cm ) Image Size: 31.75 x 23.5 inches ( 80.645 x 59.69 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...

Medium: original offset lithograph. This work is also known as "Envelope". Rauschenberg executed this interesting Pop Art classic for Art In America in 1970. It consists of one compo...

Original "The Great St. Louis Bank Robbery"; U. S. 1 sheet original theater release movie poster; size 27" x 41"; 1959. Featuring Steve McQueen. Archi...

Original South Pacific (Tahiti) on Matson cruise ships archival linen-backed vintage travel poster. The title of the artwork reads: Tahiti. The Matson line ships going there are...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Artist: Charles Arnoldi (American, born 1931) Title: Untitled Year: 2001 Medium: Off set lithograph Edition: Numbered XXVIII 65/115 in pencil Image size: 17 x 17 inches Sign...

Jasper Johns Painting with Two Balls, Kunsthalle, Berlin, hand signed poster (Field 132), 1971 Offset lithograph (hand signed and inscribed by Jasper Johns) Signed and inscribed in m...

The Cathedral is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in the 1970s. The state of preservation of the artwork is...

Artist: Norman Rockwell (1894-1978) Title: Four Ages of Love: Autumn Year: circa 1985 Medium: Offset lithograph on wove paper Edition: A.P. aside from the edition of 350, plus proofs...

Paper Size: 23.5 x 16.5 inches ( 59.69 x 41.91 cm )?Image Size: 23.5 x 16.5 inches ( 59.69 x 41.91 cm )?Framed: No?Condition: A-: Near Mint, very light signs of handling??Additional Details: Poster featuring a drawing of Jack Goldstein...

"The Prayer" by Alexej von Jawlensky was painted in 1923. The work is a prime example of Expressionism, specifically influenced by German Expressionism and abstract spiritualism. "Th...

The Evening Visit  is an offset poster print after the Sicilian artist Renato Guttuso.  This print was realized on the occasion of the exhibition held in Rondanini Gallery in Rome i...

This striking original poster was produced for Francis Bacon’s 1980 exhibition at Marlborough Gallery, located on 57th Street in New York. Featuring Seated Man, the image embodies Ba...

Roy Lichtenstein As I Opened Fire, set of 3 Lithographic Posters: An authorized reproduction of Roy Lichtenstein's painting entitled "As I Op...

Francesco Clemente (Hand signed, inscribed and dated 2014 (MMXIV) to Nadine with drawings in black marker), 2002 Hardback monograph with dust jacket (Hand signed, inscribed and dated...

Laurie Simmons Walking, Talking, Lying, 2005 Hardback monograph (hand signed and inscribed by Laurie Simmons) Warmly signed and inscribed by Laurie Simmons on the first front end page. 11 × 10 × 1 inches This elegant, illustrated hardback monograph, with no dust jacket, exactly as issued, is, exceptionally, hand signed and uniquely inscribed by Laurie Simmons. The inscription reads: For Arala with much Love BIG Love, Laurie Simmons You are an actor! Book information: Publisher: Aperture Direct, 2005 Hardcover; 160 pages with 100 four-color images Publisher's blurb: Laurie Simmons is one of the first contemporary American photographers to have created elaborately staged narrative photographs. Using dolls...

Chuck Close, Richard Estes Picturing America (hand signed by both Chuck Close and Richard Estes), 2009 Hardback Monograph (hand signed by Chuck Close a...

This original exhibition poster promotes Paul Jenkins' showcase at *ART 80*, held at the Washington D.C. Armory from May 3-8, 1980. The event was presented by Alex Rosenberg Gallery,...

Original exhibition invite card for Cindy Sherman- A Play of Selves held at Metro Pictures November 11- December 16, 2006. Folded down center as issued. Framed in a shiny black metal...

Poster created for Bob Marley: Songs of Freedom presented by Association World Culture, Paris, France in 1991. Copyright Bob Marley Music, Inc. Shipping and Handling: We ship Worl...

Nan Goldin Supreme Skateboard Decks, 2018 (set of 2): – Misty and Jimmy Paulette in a taxi, (NYC 1991) – Nan as a Dominatrix (Cambridge MA 1978) Set of 2 limited edition Nan Goldin ...

Donald Baechler Wasted Time and Money: A Month in India with Ranbir Singh, and Getting There (Hand signed and inscribed to art critic Anthony Haden-Guest), 1989 Softcover catalogue with stapled wraps (Hand signed by Donald Baechler and inscribed to art critic Anthony Haden-Guest) Hand signed and inscribed to art critic Anthony Haden-Guest by Donald Baechler on the title page 10 1/2 × 8 inches This super rare softcover catalogue with stapled wraps is hand signed and inscribed to art critic Anthony Haden-Guest by Donald Baechler on the title page. The inscription reads: For Anthony 3 April 91 Donald Baechler Book information: Publisher: Ajax Press, New York, 1989 Printing: John Hauser...

"IBM G.EL.2, 18.1.1984" is an offset print created by renowned German artist Gerhard Richter. Based on a watercolor completed on January 18, 1984, this piece is notable for its vibra...

Richard Serra Drawings Zeichnungen 1969-1990 (Hand signed by Richard Serra), 1990 Softback monograph Book (Hand signed by Richard Serra) Hand signed by Richard Serra on the half titl...

This first edition exhibition poster, titled Walking Past Le Rossignol, was created by David Hockney and is a distinguished piece in his portfolio. Referenced as No. 151 in the 1994 ...

Paper Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Image Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: First edition exhibition poster by Bruce Nauman introducing his new installations at Leo Castelli’s Febriary 4th-25th, 1978. Photographed by Frank Thomas...

Artist: (after) Andy Warhol (American, 1928-1987) Title: "Space Fruit: Still Lifes (Watermelon)" Series: Space Fruit: Still Lifes Posters Year: 1979 Medium: Original Offset-Lithograp...

This is an original exhibition flier poster for a 1988 show featuring the work of Terry Winters at the Max Hetzler Gallery in Köln, Germany. The poster serves as both a promotional a...

Printed in Switzerland and published by La Guilde du Livre and Clairefontaine, Lausanne in 1972, this third edition (#781) is a beautifully produced volume showcasing the works of Le...

Original vintage poster: FRENCH LINE cruise line. Archival linen-backed original travel by cruise line vintage poster. "Greet Europe Relaxed & Refreshed by France- Afloat." Frenc...

In 2006, the Solomon R. Guggenheim Museum in New York held an exhibition honoring Flavin's contributions to art. To commemorate this event, an offset lithograph poster titled "Artifi...

 The Mountain and the Rose is a beautiful offset realized by Gino Marotta. Limited edition of 1.000. Good conditions. Colored poster from a photograph by Gino Marotta.

Vintage offset poster realized in occasion of Pasquale Napoli's 1981 Exhibition in Campobasso. Very good condition.

Original WATERFALL by the IF Band on Metromedia Records vintage record poster. Note that this is a vintage poster and not an album cover. Unlike th...

High-quality reproduction of Pierre Bonnard’s L’Amandier en fleurs (1946–47), produced by Éditions Maeght. This piece captures Bonnard’s luminous color palette and intimate depiction...

Paper Size: 14 x 7.5 inches ( 35.56 x 19.05 cm ) Image Size: 8.5 x 5.75 inches ( 21.59 x 14.605 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling ...

"L'Arc de Triomphe, Wrapped Project for Paris I" is one of the last projects realized by Christo before his passing. This limited edition piece is a testament to Christo's enduring v...

Original vintage poster, linen backed FiftyFair, Help us Celebrate Fifty Flying Years 'WESTERN AIRLINES". The image of a biplane in the sky flying ...

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 ...

Royal Academy Exhibition Poster By David Hockney David Hockney is a British painter, draftsman, and photographer celebrated for his vibrant depictions of California swimming pools...

Nicholas Krushenick New York State Council on the Arts Award poster, 1970 Silkscreen on wove paper - original 1970 poster, not a reprint Unsigned, unnumbered, unframed 35 × 25 inches...

Massimo Vitali (b. Como, Italy in 1944) is an Italian photographer based in Lucca. Vitali studied photography at the London College of Printing. He initially worked as a photojournal...

Alone from Ecce Homo is an original offset and lithograph, realized by George Grosz. The artwork is the plate n. 67 from the porfolio Ecce Homo published between 1922/1923, edition ...

Original vintage poster designed by renowned American illustrator Teresa Fasolino for Harvard University's 350th Anniversary Celebration in 1986. Fasolino, known for her highly detai...