Art by Medium: Offset

Paper Size: 26 x 20 inches ( 66.04 x 50.8 cm ) Image Size: 15.5 x 13 inches ( 39.37 x 33.02 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Suppl...

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

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

Paper Size: 35.25 x 24 inches ( 89.535 x 60.96 cm ) Image Size: 35.25 x 24 inches ( 89.535 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional ...

Paper Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Image Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: Very large advertisement poster created by Mobil for the promotion of the exhibit 'Greek Art...

This reproduction is from Richard Artschwager's 1985 exhibition at Leo Castelli Gallery, showcasing an abstract work on paper. The artwork features a yellow shape that appears to be ...

Zarah Leander (after) GABRIELA Woman with a past - Queen of the Night Clubs - Toast of Cafe Society! Offset Lithograph 1950 22.04 x 27.55 inches (56 x 70 cm) Unsigned as issued COA p...

In 1997, acclaimed artist Jennifer Bartlett created a distinctive poster for the American Dance Festival. This offset lithograph measures 36.5 x 24.75 inches, with an image size of 2...

Original World War II poster: "Men Working Together", horizontal original American World War II antique vintage military poster. Size 40" x 30". Year:...

Paper Size: 33.5 x 20 inches ( 85.09 x 50.8 cm ) Image Size: 23.5 x 16 inches ( 59.69 x 40.64 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Supple...

Robert Indiana LOVE in Central Park, New York, 1971 Color lithograph on wove paper. Autographed, dated and numbered with LOVE drawing/flourish Autographed by artist, dated and numbered 66/ 89. Also bears a drawing of the stacked letters LOVE in pencil. Bears Robert Indiana's copyright Published by Robert Indiana and printed by the American Poster Company to raise money for Central Park 39 × 30 inches Unframed This impressively large 1971 lithograph with a stacked LOVE drawing on the front - depicts Robert Indiana's iconic LOVE sculpture (from the permanent collection of the Indianapolis Museum of Art) when it was exhibited at Central Park in New York City. This was the turn of the decade of the 1970s - during the height of the anti-Vietnam War protests of the Nixon Administration, when the presence of Indiana's monumental cor-ten steel LOVE in Central Park took on a much deeper significance in New York and indeed the country. This important print is pencil signed, dated and numbered by Robert Indiana from the very small edition of only 89. It also bears a drawing - a flourish - of the word LOVE written by the artist in pencil. Very few of the signed editions of this print remain -- so it is rarely seen on the market. Indeed, eighty nine (89) is a very small edition; however, this oversized print was used for promotional purposes in public places, so very few of the 89 signed and numbered works remain - let alone with the original stacked love drawing. . If you LOVE Robert Indiana...

Paper Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Image Size: 46 x 30 inches ( 116.84 x 76.2 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Supplemental Conditi...

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...

“Arena” The First 3 Dimension Western. Original theater issued vintage movie poster - 1953. Professional archival linen backed with the original theater-issued fold marks restored. Ready to frame. Size: 27" x 41.5" Original linen-backed 1953 first 3-D Western movie poster. The FIRST 3-D Dimension Western MGM full-length feature. You live dangerously in MGM's great outdoor romance! Print by Technicolor. Photographed in Technicolor Ansco Color. Gig Young, Jean Hagen, Polly Bergen...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at the Liceo Artistico and at the Polytechnic School of Design. In 1976 she moved to Canzo, near Como where she learned serigraphy, ceramics, and painting from the well known artist Salvatore Fiume, her father. At the beginning the main subject of her works was that of fishes. She then extended her interest to the wider world of animals, interpreted through a deliberately naïve style and very bright colours. In 1983 Laura’s works were exhibited both at the Basel Art Fair and at Artexpo in New York. The latter marked the beginning of a collaboration with the Work’s II Gallery In Southampton (NY) which would continue until 1988. Her major exhibitions of those years were in Milan at the Palazzo dell’Arengario, now home of the Museo del Novecento in Piazza Duomo, (1985), and in Venice at the Assicurazioni Generali headquarters in Piazza San Marco (1987). In 1983 Laura began her ceramic production in her father’s workshop of Canzo located in a former silk mill. Between 1990 and 1992 thanks to an exclusive agreement with a Japanese company her paintings and graphic works were distributed throughout Japan. The 1990 exhibition at the Artesanterasmo Gallery of Milan on the theme of mirrors was the only occasion in which she exhibited her paintings with her father. Her collaboration with that gallery has been steady since 1988. In 1992, following a suggestion from the well known architect Pepe Tanzi, Laura collaborated to the launch of the Pozzi & Verga new collection of tables and chairs by including images of those pieces of furniture in her own paintings. Between 1992 and 2000 she had her own showroom in Milan where her collections of ceramics and her creations for leading companies like Ricchetti (tiles), Fede Cheti (home fabrics), Edilkamin (fireplaces and stoves), Kaigai (textiles for clothings and bathroom towels), Rosenthal (china), and Proserpio Arredamenti (furnishings and frabrics) were on display. In 1995 she was chosen as Designer of the Year by Meyer Mayor, the distinguished Swiss company specialising in kitchen and table linen production. In the 1995 exhibition entitled Walls and Terracottas at the Artesanterasmo Gallery of Milan abstract most of the subjects were painted on dirt-like materials. In the same year she also presented her new Tableaux an Terre at the L’Ile en terre Gallery of Saint Paul de Vence, France. Between 1996 and 2005 she collaborated with the Edizioni San Paolo Publishers illustrating children’s books and stories for kids in the G-baby Magazine. In 1999 she increased her show-room space by creating Atelier Produzioni d’Arte where prints, ceramics, and sculptures by various international artists were presented. In 2000 Laura began her collaboration with Raika of Japan designing their fashion collections which have been on display since 2002 in the Showroom Laura Fiume at the Mitsukoshi Department Store in Tokyo. In 2000 Laura designed a collection of coffee cups called The Jungle Collection for Cellini Deutschland. In April 2003, as part of the events that took place during the Salone del Mobile of Milan, Laura held a large exhibition at the Spazio Exté entitled Other Rooms: A Tribute To Philippe Starck. On that occasion Laura enjoyed the collaboration of Alessi, Driade, and Flos who kindly lent her the pieces from their Philippe Starck production represented in her paintings for an installation in that exhibition. In June 2003 Laura held a one-artist exhibition at the Svetog Krševana Gallery in Šibenik, Croatia as part of the International Children’s Festival of that town where she exhibited her early works dedicated to the world of children. In 2005 she gave her contribution to the restyling of the L’Arenella Hotel on the Isola del Giglio, Tuscany, by providing a number of enlarged images of her works which became the characterizing element of the hotel’s interiors. In the summer of the same year she held a retrospective at the Vartai Gallery in Vilnius, Lithuania. In 2005 she also presented an installation within the project Ten Arm-chairs for Ten Artists, an initiative by Molteni & C, a leading company in the furniture field, where Laura was asked to decorate a Molteni arm-chair from the Reversi collection and to carry out a number of paintings using the same fabrics covering their couches and arm-chairs. In 2006 there were as many as three exhibitions of Laura’s. The first one, called Visual Amplifications was held in Fiesole, near Florence, in the museum within the St. Alexander Basilica building. The second one, entitled Private Stories, took place in Sansepolcro, Tuscany at the Piero della Francesca City Museum. The third exhibition, entitled Trame d’interni (Plots in Interiors) was hosted in Milan by the Artesanterasmo Gallery where Laura presented her new paintings on fabrics provided by well known fabric producer Enzo degli Angiuoni. In 2007 she exhibited her works in Rome at the Galleria Margutta 3 and then at the trendy TAD Conceptstore showroom of Via del Babuino. Both exhibitions were strictly connected through the idea of displaying works in harmony with TAD’s furnishings. In 2007 Laura was also invited to take part in Milan’s Cow Parade...

Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...

Operazione 7000 Eichen is an original receipt realized in 1985  by Joseph Beuys in occasion of his solo exhibition held at the Marino Gallery (in Mignanelli Square, Rome)  In good c...

Alexander CALDER Abstract Composition, 1971 Original vintage lithograph poster (Arte / Maeght workshop) Printed signature in the plate On thick paper 89 x 59 cm (c. 35 x 23,2 in) I...

Original half sheet MISS ROBIN CRUSOE. With Amanda Blake, George Nader, Rosalind Hayes. As frenzied as voodoo Drums! As shocking as cannibal rituals! Very good condition, t...

Paper Size: 23.25 x 29 inches ( 59.055 x 73.66 cm ) Image Size: 20 x 25.75 inches ( 50.8 x 65.405 cm ) Framed: No Condition: A: Mint Additional Details: The image of ""Reflecti...

Hergé (1907-1983) Explorers of the moon (On a marché sur la Lune), 2024 Official poster On thick glossy paper 70 x 50 cm (c. 27.5 x 19.6 in) INFORMATION : Official and authorized ...

Original World War II poster: NEXT!. 6th War Loan. Original World War 2 government issued poster. Linen backed with original fold marks restored. T...

Paper Size: 39.25 x 27.5 inches ( 99.695 x 69.85 cm ) Image Size: 39.25 x 27.5 inches ( 99.695 x 69.85 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or ag...

Original WWII poster: Protect his Fugtures buy and Keep War Bonds The color poster shows a young, smiling boy being lifted in the air, holding on to a man's hands. The boy has blond...

Paper Size: 22 x 14 inches ( 55.88 x 35.56 cm ) Image Size: 22 x 14 inches ( 55.88 x 35.56 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Mark Ryden 2 part invitation forming a 3-D Dodecahedron (hand signed by Mark Ryden), 2016 Offset lithograph invitation Hand signed by Mark Ryden 6 1/2 in diameter Ingeniously desig...

Original Pull down your shades! Rare original World War II poster. Save up to 10% on fuel. Isn't that the truth. Created for the U. S. Government Window Shade Institute. The original poster issued by the US Government. The purchase comes with a certificate of authenticity. Conservation linen backed and ready to frame. Very good condition with original U.S. Government issued poster fold marks restored. The poster indicates that 30% of all heat loss is through windows. Your cloth window shades...

Christopher Wool Christopher Wool (Hand signed and dated by Christopher Wool), 2013 Hardback monograph with dust jacket (hand signed and dated by Christopher Wool) Boldly signed and ...

Paper Size: 43 x 33 inches ( 109.22 x 83.82 cm ) Image Size: 40.5 x 30.75 inches ( 102.87 x 78.105 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

Vue du Capitole is a print realized after Godefroy Engelmann in the 1970s. Signed on the plate Offset on paper Good condition with slight foxing.

Paper Size: 23.5 x 35.5 inches ( 59.69 x 90.17 cm ) Image Size: 23.5 x 35.5 inches ( 59.69 x 90.17 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

Artist: Charles Arnoldi (American, born 1931) Title: Untitled Year: 2001 Medium: Off set lithograph Edition: Numbered VI 6/6 in pencil Image size: 17 x 17 inches Signature:...

Title: Original "Diane" 1956 Half-Sheet Vintage Movie Poster Linen backed and ready to frame. NSS: 56/13 Features:- - This is an original movie poster for the 1956 film "Diane"...

Paper Size: 16.5 x 11.75 inches ( 41.91 x 29.845 cm ) Image Size: 16.5 x 11.75 inches ( 41.91 x 29.845 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...

Controversial L.A. “street artist”, Mr. Brainwash takes to the New York City art scene with the opening of his “Icons” show in the meat packing district on Sunday February 14th. First brought to the public eye when LA Weekly profiled the artist in a cover story, Mr. Brainwash continues to be a much-discussed figure as the star of infamous street artist Banksy’s documentary “Exit Through the Gift Shop”, which premiered last month at the Sundance Film Festival. Thierry Guetta or “Mr. Brainwash” jam packed his massive art Icons show into two floors of a 15,000 square foot space. The show features portraits of pop culture icons; Madonna, Obama, Michael Jackson, James Brown and the Beatles, among many others, all interpreted through old broken records placed on canvas and silk screens with touches of spray paint. Wether you love him or you hate him, Art Icons is sure to be one of the largest and most lavishly funded art shows of the decade. Mr. Brainwash: Icons is ran from March 31 at 415 West 13th Street between Ninth Avenue and Washington Street in the Meatpacking District...

This is a signed reproduction titled Park Presidio in San Francisco by artist Alan Balustein, published and distributed by Image Conscious. Hand-signed and titled in black pen, the i...

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...

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...

Offset lithograph on wove paper Signed in pencil by the artist Published by Mother Lode Editions and Hundred Acres Gallery This limited-edition print by Malcolm Morley was part of t...

Sku: AWB101-B Artist: Dwight Baird Title: If Abner Only Knew-Cooperstown Year: 1990 Signed: Yes Medium: Offset Lithograph Paper Size: 20 x 30 inches ( 50.8 x 76.2 cm ) Image Size: 18...

Paper Size: 23.25 x 33.5 inches ( 59.055 x 85.09 cm ) Image Size: 23.25 x 33.5 inches ( 59.055 x 85.09 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or...

Paper Size: 8 x 5.5 inches ( 20.32 x 13.97 cm ) Image Size: 8 x 5.5 inches ( 20.32 x 13.97 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling ...

This signed exhibition poster features a maquette by renowned artist Katsuhiko Hibino, created for his show at Galerie Lafayette, Paris, in 1988. Hand-signed by Hibino in black Sharp...

Adolph Gottlieb Guild Hall is for Everyone, 1970 Rare Abstract Expressionist Offset Lithograph poster Vintage metal Frame included Rare vintage, limited edition, offset lithograph ...

Paper Size: 30 x 20 inches ( 76.2 x 50.8 cm ) Image Size: 20 x 16.5 inches ( 50.8 x 41.91 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supplemental Co...

Paper Size: 33 x 23.5 inches ( 83.82 x 59.69 cm ) Image Size: 20.5 x 15 inches ( 52.07 x 38.1 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipping ...

Paper Size: 8 x 5.5 inches ( 20.32 x 13.97 cm ) Image Size: 8 x 5.5 inches ( 20.32 x 13.97 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling Additional Details: Original exhibition invitation to Günther Förg at Almine Rech...

"Basket of Begonias" is a reproduction of a work by Henri Matisse created using his signature cut-out technique. The original artwork was made in 1941, during a period when Matisse w...

Signed in pencil by McLean. From the 1972 limited edition portfolio entitled "Radical Realism I", published by Mother Lode Editions and Hundred Acres Gallery. The complete portfoli...

To promote the "Masterpiece Theatre" presentation of "The Citadel," Mobil created a large advertisement poster. While specific details about the poster's design are not provided, suc...

Paper Size: 21 x 28 inches ( 53.34 x 71.12 cm ) Image Size: 21 x 28 inches ( 53.34 x 71.12 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Red Grooms Redgrooms, 2004 Hardback monograph with 3-D sculptural pop-up (signed and numbered in red marker on the artist's designed book plate) Signed and numbered 101/400 in red marker on the artist's designed book plate 13 × 10 × 1 1/2 inches Makes a superb gift! Lavishly illustrated with a pop-up/multiple taken out of the book with its signed & numbered label is often removed, exhibited under plexiglass, and sold separately for several thousand dollars. This fully pre-assembled pop-up with integral base at rear is a re-working of Grooms' iconic New York Taxi of 1986 - which in turn was based on his earlier giant Ruckus NY taxi sculpture...

Jasper Johns Target with Four Faces (Hand signed by Jasper Johns), 1968 Offset lithograph poster (hand signed and dated by Jasper Johns) Hand signed and dated April 8, 1985 by Jasper...

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. 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...

The Town is an original vintage offset print on ivory-colored paper, realized by Franco Gentilini ( Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwork ...

Original vintage World War 2 poster: A Careless Word … A Needless Sinking. A Careless Word ... A Needless Sinking. Linen backed origin...

Original, WHEN WE WERE KINGS 1 sheet linen-backed movie poster. Ready to frame: great super close-up of heavyweight boxing champ Muhammad Ali! Archival linen-backed in good condition, ready to frame. Certificate of Authenticity. FREE Continental USA FedEx shipping. Film Description: When We Were Kings, the 1997 Leon Gast black African-American historic boxing sports documentary ("The untold story of the Rumble in the Jungle."; about the legendary boxing match in Zaire, Africa, between Ali and Foreman, and how Ali used his brains to help win the fight) starring Muhammad Ali, George Foreman, James Brown, B.B. King, Norman Mailer, George Plimpton, Spike Lee, The Crusaders, The Spinners, Don King...

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...

Untitled, XIV Winter Olympics games is a vintage poster realized by the artist Mimmo Paladino, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very good condition...

Derrière le Miroir (DLM) No. 172 features eight offset photographs showcasing the work of artist Kemeny. This edition highlights the unique qualities of Kemeny's artistic style, prov...