Art by Medium: Offset

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...

"The Tel-Avic Museum hosts the Museum Modern Art Museum of NY February April 1980 in a retrospective of American Art in the 20th Century" Poster created for a retrospective exhibitio...

Original Avenge December 7th vintage poster. Linen backed; excellent condition. Artist: Bernard Perlin. Office of War Information, Washington, D.C., U.S. Government Printing Office: 1942-O-491978 Dramatic original World War II poster depicting a sailor with his fist raised, standing above a scene of an exploding battleship, with the words “Avenge December 7” in red across the middle of the poster. The striking image on OWI “Poster No. 15,” memorializing the events of December 7, 1941, was created by artist Bernard Perlin. U. S. Government Printing Office. Year: 1942 As a Life Magazine war art correspondent living in Europe during the 1940s and 1950s, Perlin continued to document social change uniquely. An American painter primarily known for creating many American posters during WWII and for magic realism...

Original vintage poster: Make your own Declaration of War, Buy War Bonds. Size 22" x 28:. Original 1942 World War II (WWII) American military vintage poster. Archival linen backed with the original U. S. Government poster...

Paper Size: 5 x 8 inches ( 12.7 x 20.32 cm ) Image Size: 3.75 x 7.25 inches ( 9.525 x 18.415 cm ) Framed: Yes Frame Size: H: 4.75 x W: 8.25 x D: .75 in. Condition: A-: Near Mint, ver...

This is a rare and iconic poster from the first printing created by the legendary Andy Warhol for a special exhibition held in Sweden in 1983. Designed as a tribute to the legendary ...

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: B: Very Good Condition, with signs of handling or age Addi...

Chuck Close Recent Paintings (Hand Signed by Chuck Close), 2000 Large Illustrated Glossy Exhibition Catalogue with French folded flaps Hand signed by Chuck Close in black marker on t...

Paper Size: 18.5 x 25 inches ( 46.99 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 ...

The Modern Poster by Stuart Wrede is a splendid mammoth catalog celebrating the art of the poster from the late 19th century to the 1980s. Illustrated with 301 color images, this kno...

Peter Halley New Works, Galerie Bruno Bischofberger (Hand signed), 1994 Offset lithograph poster (signed by Peter Halley) 19 × 26 1/2 inches Boldly signed in black marker on the fron...

ROBERT INDIANA Hirshhorn Museum & Sculpture Garden Opening Exhibition (Signed & Numbered Edition), 1974 Lithograph on wove paper 32 × 26 inches Signed and numbered 4/100 in pencil on...

James Rosenquist Cleveland Center for Contemporary Art 1968-1983 Offset Lithograph Poster on White Wove Paper Plate (printed) signature Limited Edition of 500 (unnumbered) Unframed A...

This artwork "Couple Reading" Circa 1980 is an offset lithograph on Wove paper by artist Barbara A. Wood (American) It is signed and numbered 731/975 i...

"Global Dispute" is a vintage offset realized by Vittorio Vighi in the late 20th Century. In excellent conditions. This artwork represents an original comic book with bright and si...

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 o...

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...

Immerse yourself in the world of television history with this very large advertisement poster created by Mobil to promote the television movie adaptation of John Mortimer's "A Voyage...

Sam Francis, American (1923 - 1994) - Chicago International Art Exposition, Year: 1989, Medium: Poster, Size: 56.5 x 36.5 in. (143.51 x 92.71 cm), Printer: Black Box Collotype ...

"De Haan Kiss" from "A Portfolio of Landscapes and Figures" offset lithograph. Image of swimmers in pool under dome. Massimo Vitali Steidl Verlag, Götting...

KAWS Exposed, 1999 Early Illustrated softcover book with French folded flaps, published in Paris 8 4/5 × 6 1/5 inches Limited Edition of 2000 Published by Colette and printed by La P...

Original. “OUR AMERICA, #3 USING MOTION PICTURES FOR SOCIAL VALUE.” vintage poster. Presented by the Coca-Cola Bottling Company. This poster displays the benefits of American Motion Picture making on society as a whole and is number three in the series of Our America, Motion Pictures. From leisure, as in entertainment, to the practical, like legal documentation and recording important events, are displayed in this poster. These benefits are shown in eight small windows along either side of a large ninth window, which is all brought into harmony by the use of green tones, and that the windows are set upon a mint green background. Presenting Facts of History. Our America Motion Pictures # 3. Using Motion Pictures for Social Values. 1. Using cartoons for amusement. 2. Reporting an important event. 3. Making biography dramatic. 4. Reporting athletic events. 5. Dramatizing a famous book. 6. Showing places of natural beauty. Y. Using motion pictures in legal cases. 8. Making pictures true to facts. We Can All Do Our Part! In 1943, during World War II, Coca-Cola created the “Our America” series of vintage motion picture posters...

Deluxe edition of the Catalogue of the Graphic Work by Henry Moore from 1931 to 1972 edited by Gérald Cramer, Alistair Grant and David Mitchinson.  440 pages , 206 graphic works desc...

Marina Abramovic The Spirit in Any Condition Does Not Burn (Hand signed by Marina Abramovic, with provenance label from the Royal Academy) 2011, 2023 Offset lithograph poster (hand ...

Paper Size: 19.75 x 15.75 inches ( 50.165 x 40.005 cm ) Image Size: 14.5 x 11.75 inches ( 36.83 x 29.845 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

The Walls of Jericho." This is an original 1948 half-sheet movie poster for the film " The poster features a striking image of Cornel Wilde and Linda Darnell...

Original Victory Loan vintage poster. “In the Strength of Great Hope we must shoulder our common load” .. Buy Victory Bonds. Linen backed in very fin...

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...

Original Blaupunk Auto Super vintage German radio poster. The image features a woman at the steering wheel inside her car. Professional archival line...

Paper Size: 20 x 15.75 inches ( 50.8 x 40.005 cm ) Image Size: 6.5 x 10 inches ( 16.51 x 25.4 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipping ...

Drape is an original Offset realized by Giacomo Manzù (1970). The artwork is in good conditions, except for some stains on the lower margin. Signed on plate by the artist on the lo...

Mary Bauermeister Mary Bauermeister at Galleria Schwarz Milano (Hand signed, dated and inscribed), 1972 Offset lithograph on exhibition catalogue (hand signed, dated and inscribed in...

Paper Size: 16.5 x 11.75 inches ( 41.91 x 29.845 cm ) Image Size: 10.75 x 7.75 inches ( 27.305 x 19.685 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipp...

Architektur II is an exquisite limited edition print by the esteemed German artist Günther Förg. Renowned for his contributions to the post-war art movement, Förg’s work often delves...

Christo and Jeanne-Claude, Bulgarian (1935 -2020) - The Wall, Year: 1999, Medium: Poster, signed in color pencil lower right, Size: 19.25 x 24.75 in. (48.9 x 62.87 cm)

Paper Size: 28 x 22 inches ( 71.12 x 55.88 cm ) Image Size: 21.25 x 20 inches ( 53.975 x 50.8 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: This is an original poster featuring the award-winning photograph by Nina Leen...

Christopher Wool Martin Kippenberger Self-Portraits Poster, 2005 Offset lithographic poster in colours on smooth wove paper. 36 × 24 inches Published by Luhring Augustine Unframed T...

Title: The Jazz Singer - Original 1953 US Half-Sheet Vintage Movie Poster Features:- - Warner Bros: Jubilant New Production of The Jazz Singer, in Techn...

Claes Oldenburg Lipstick Ascending the Caterpillar Tracks (Print), plus Novum Organum No. 7, Yale University (broadside), 1969 Print is a Photo offset lithograph on two sided paper, plus separate broadside on offset lithograph Hand signed boldly in black marker and numbered 116 34 × 24 inches Published by Yale University, New Haven, CT Unframed Note: This print is THE original 1969 photolithograph - not to be confused with the poster or later editioned works created in the 1970s. See history below: This listing features 2 Elements: (1) A 2 sided photolithograph of the installation plans for Oldenburg's monumental lipstick sculpture...

Julian Schnabel Large Lincoln Center 25 Years (Hand signed and inscribed), 1984 Offset lithograph. Signed and inscribed to Kevin by Julian Schnabel 60 × 40 inches Signed and inscribe...

This is a reproduction of Ink on Paper, created by Pierre Soulages in 1995. This work showcases Soulages' mastery of ink as a medium, highlighting his unique ability to manipulate li...

Vintage poster realized in 1984 in occasion of the XIV Olympic Winter Games in Sarajevo. Edition of 1000. Created by the Slovenian painter Gabriel Stupica, one of the foremost representatives of post-war Yugoslav modernism, this evocative composition was commissioned for the XIV Olympic Winter Games, Sarajevo 1984 (Yugoslavia). Executed in Stupica’s distinctive lyrical and figurative style, the work depicts a dynamic, dreamlike athlete in motion, surrounded by abstract Olympic rings, against a vaporous lavender and blue background. The piece encapsulates both the energy of winter sports and the poetic sensibility of Stupica’s artistic vision. Stupica, a member of the Ljubljana School of Graphic Arts and a central figure in Slovenian modern painting, was internationally recognized for his psychologically charged and symbolist works. His contribution to the Sarajevo Olympic...

Jack Levine Vintage 1970s Kennedy Galleries poster (Hand signed and warmly inscribed), 1972 Offset lithograph poster (Signed, dated and inscribed in black marker by Jack Levine) Sign...

Paper Size: 36 x 24 inches ( 91.44 x 60.96 cm )?Image Size: 16.75 x 22 inches ( 42.545 x 55.88 cm )?Framed: No?Condition: A-: Near Mint, very light signs of handling??Additional Deta...

Paper Size: 30 x 20 inches ( 76.2 x 50.8 cm ) Image Size: 15.5 x 10 inches ( 39.37 x 25.4 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Supplem...

Two Women's Torses is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1952. Signed o the plate on the lower. The print suite was ...

Original movie poster: Barbra Streisand and James Caan in Funny Lady. Linen backed one sheet. Orginal theater issue fold marks were touched up during linen backing allowing thi...

Original “Skyjacked” vintage US 1-sheet movie poster 1972. NSS: 72/181 Starring Charlton Heston, Yvette Mimieux, James Brolin, Claude Akins, and Je...

Original Dartmouth Outing Club Golden 50th Anniversary. Archivally linen backed in excellent condition, ready to frame. The image on this poster features vignettes of the previous 50 posters created for the Dartmouth ski...

Rudi S. is an original offset and lithograph realized by George Grosz. The artwork is the plate n.42 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-V...

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...

Still Life 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 ...

Christopher Wool "The Show is Over", 2013 Offset Lithograph 33 1/2 × 25 inches This poster was designed by contemporary artist Christopher Wool in conjunction with his 2013 Museum re...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

Original poster: Keep Up the Good Work, Keep down living costs. Pay no more thjan ceiling prices. Original World War II; Uncle Sam. Artist: L. Helguera. Size: 20" x 27.75"...

This limited-edition reproduction features the 1983 motif created by Roy Lichtenstein for the Brooklyn Academy of Music (B.A.M.), a testament to his signature Pop Art style that blen...

"Yankee Flame" (1975) is a collotype by American photorealist artist Ben Schonzeit, created for the portfolio "America: The Third Century" in celebration of the United States Bicente...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1958. Signed o the plate on the lower. The print suite was realized i...

Takashi Homma Tokyo (hand signed, inscribed in Japanese and dated by Takashi Homma), 2008 Softback monograph with dust jacket, roughcut and deckled edges...

Original "World Premiere." Vintage movie poster. Linen-backed and in good condition for a poster created during World War 2. NSS: 41/347. Certificate of Authenticity. This is an original, theater-used US 1-sheet to the comedy starring John Barrymore...