1980s Art

Colorful dots, lines and squares in bright blue, pink, green, lilac and yellow in wood grain form a totem against a lavender purple background. This jubilant take on Cubism features ...

Serigraphy and collage of elements on Lucio del Pezzo hand-painted hand-made paper. Graphic work created in the 80s in 50 numbered copies signed by the artist.  The sheet is in perfe...

Silkscreen, 1986 Edition : 53/175 Catalog : [Benavides 1016] Image dimensions : 50.00 cm. x 50.00 cm. (19.69 in. x 19.69 in.) Paper dimensions : 64.50 cm. x 65.00 cm. (25.39 in. x 25...

Davis Cone 1983 Variety Photo Plays Signed in pencil and marked 3/7 PP (Printers Proof) Lithograph in colors Paper Size 34½ x 26 inches Image Size 32½ x 23¼ inches Eleanor Ettinger G...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork en...

Paper Size: 23 x 22 inches ( 58.42 x 55.88 cm ) Image Size: 16.75 x 17 inches ( 42.545 x 43.18 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional...

In this unique Michael Hurson monotype, stylized Greco-Roman pillars flank a plane of crosshatched and dotted texture in black, brown, and purple ink. The...

"Skating Party" WPA Regionalism American Scene Mid 20th Century Modern Realism Roger Medearis (1920 – 2001) "Skating Party" 20 x 24 inches Tempera on board, 1949 Signed Medearis and...

PEPPER JELLY LADY is a hand drawn, limited edition lithograph by one of the most important American artists of the 20th century, Romare Bearden. PEPPER JELLY LADY was printed using t...

Andy Warhol Carly Simon, 1980 Stamped by The Estate of Andy Warhol on the reverse Gelatin silver print 8 x 10 inches The artist Estate of the artist Long-Sharp Gallery, Indianapolis...

Artist: Sandro Chia Title: Untitled 7 Medium: Carborundum etching with hand coloring on handmade paper, each piece is unique Size: 48 x 38 Inches Signed: Hand Signed Edition: 31/50...

Jim DINE (1935) Nancy outside in july XIV (Wrestling with Spirits), 1981 Original etching with aquatint (Crommelynck workshop) Signed in pencil Numbered 19 / 30 On BFK Rives vellum ...

Cafe Dining Amos Yaskil Israeli (1935) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of LXVI/CCCLXXV Image Size: 17.5 x 25 inches Size: 22 x 29.5 in. (55.88 x ...

Lithograph on paper realized by Felicita Frai. Edition of 150. Hand signed and numbered in pencil. Excellent condition.

This rare mixed media serigraph by Elba Alvarez captures the essence of a defining moment in late 20th-century decorative art—when bold abstraction, vibrant color, and emerging postm...

Lovers Figurative Bronze Sculpture Signed Illegibly edition 2/10 Large bronze sculpture signd illegible possible in Hebrew.

Raymond Pettibon, "No Mag,'" 1981: A rare late 70's/early 80's Los Angeles Punk scene publication featuring several stand out illustrations by Raymond Pettibon ...

This exhibition poster, featuring Portrait of Celia in a Black Dress by David Hockney, was published by The Tel Aviv Museum for the Contemporary British Drawings exhibit held during ...

Screenprint in colors on wove paper. Hand signed, dated and numbered by Keith Haring. Sheet size 42 x 50 inches. Image size 40 x 47 inches. Frame size approx 52 x 60 inches. From th...

A colorful OP Art silkscreen by Poland-born American OP Artist, Julian Stanczak. Artist: Julian Stanczak, American (1928 - 2017) Title: Yellow Filtration Year: 1981 Medium: Screen...

Roy Lichtenstein at Daniel Templon Galerie Beaubourg Paris After Roy Lichtenstein Roy Lichtenstein was an American pop artist famous for his comic strip-inspired works that used bold colors, Ben-Day dots...

Screen print realized by Mino Meno in 1980s. Hand signed lower right. Numbered lower left. Edition of 100. Excellent condition.

'The Family', gouache on fine art paper (1984), by Raymond Dèbieve. In a clear nod to Picasso's influence both stylistically and in terms of subject matter ...

Gary Niblett (Born 1943) New Mexico Artist Image Size: 24 x 36 Frame Size: 38 x 50 Medium: Oil on Canvas Signed "A Fine Welcome" Nocturnal Western Biography Gary Niblett (Born 1943) Born and raised in Carlsbad, New Mexico and living with his wife, Monika in Santa Fe, Gary Niblett is a painter, primarily with oil, of western scenes especially Navajo and Pueblo Indians, cowboys on horses in landscape, and frontier genre. He has also done paintings from his travels such as Streets of Warsaw and Women of Golondrinas, and during these travels exhibited work in Moscow, Taiwan, Beijing and the Royal Watercolor Society in London. From birth, Niblett grew up with the American West as a part of his daily life. Recognizing his talent, local ranchers paid him to do portraits of his horses. After high school graduation, he attended the Art Center School of Design* in California and then spent eight years in Los Angeles with Hanna-Barbera* animation studios as a background and animation artist. There he met his wife, Monika, and they married in 1970. Deciding to focus on western art, Niblett left commercial art in 1973. He and his wife, Monica, returned to New Mexico where they live in an adobe style home. In New Mexico, he has received much attention for the quality of his painting. In 1990, he was named "Distinguished Calendar Artist" for New Mexico Magazine, and one of his oil paintings is in the collection of the New Mexico state capitol building. He has also been featured in magazines such as International Fine Art Collector, Time, Saturday Review and New Mexico Magazine. In 1976, Niblett was voted into the Cowboy Artists of America...

Un Viale di Alberi Diversi (A driveway of different trees) is an original screen print realized by Bruno Munari in 1980s. Very good condition on a white cardboard, no signature. Th...

Original movie poster, Linen-backed original Indiana Jones and the Temple of Doom pre-release. "Coming May 23rd, 1984. Indiana Jones and the Temple of Doom, the 1984 Steven Spielberg treasure-hunting action-adventure fantasy sequel ("If adventure has a name... It must be Indiana Jones."; "Trust him." Starring: Harrison Ford, Kate Capshaw, Jonathan Ke Quan, Amrish Puri, Roshan Seth, Philip Stone...

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 Boss 1988 - Dave Hogan Signed Limited Edition Singer musician Bruce Springsteen on stage at Wembley Stadium, London, September 2 1988. (photo Dave Hoigan) Limited Edition Dave ...

Beautiful landscape photograph of the Oregon coast, mounted on a heavy white mat by an unknown artist (American, 20th Century). Signed "CJB" in the lower ...

Artist: Alice Neel (1900-1984) Title: Jar from Samarkland Year: 1982 Medium: Lithograph on Arches paper Edition: 77/175, plus proofs Size: 38 x 28 inches Condition: Excellent Inscrip...

This vibrant abstract work is by Gustavo Ramos Rivera (1940-) The work is a mixed media composition on paper. It measures 20.5 x 26.5 inches. It is mounted on heavy matboard that measures 26 x 33 inches. There are various techniques and materials employed in the creation of this painting. Collage, drawing, painting with oil paint, pastel crayon cardboard and other materials that I cannot identify. The painting is in very good condition. The matboard mounting has a bit of time stain on the edges. It is not presently framed. Gustavo Ramos Rivera was born in Ciudad Acuna, Mexico in 1940, and immigrated to the United States in 1969. He has lived and worked in San Francisco for over 40 years. Ramos Rivera’s work is in the permanent collections of prominent institutions including the Fine Arts Museum of San Francisco, The Mexican Museum in San Francisco and The Nevada Museum of Art. In 2006, the San Jose Museum of Art presented a retrospective exhibition of the artist’s work, which then traveled to additional institutions in California and Mexico. Through his use of color and a personal symbology, Ramos Rivera has created a language that is written throughout his paintings, monotypes, and collages. This singular expression functions on both an intellectual and emotional level and its deployment is reminiscent of the work of Paul Klee, Joan Miró, and Cy Twombly.(1) It also harkens back to the pre-Columbian Mesoamerican art...

Artist: Bernard Buffet Medium: Lithograph on Arches, 1988 Dimensions: 29.75 x 22.75 in, 75.6 x 57.8 cm

Offset and screen print on grey paper realized by Sergio Barletta in 1973.  Not signed nor numbered, as issued. Very good condition. Sergio Barletta  (1934) is an Italian cartoo...

Christopher Makos, Andy Warhol Portrait of Andy Warhol taken by photographer Christopher Makos (Hand signed by BOTH Andy Warhol and Christopher Makos), 1986 Gelatin Silver Print, han...

Primal Screams Juan Sánchez Juárez, Mexican (1946) Date: circa 1980 Acrylic on Canvas, signed l.r. Size: 48 x 60 in. (121.92 x 152.4 cm) Frame Size: 49 x 61 inches

This vintage lithographic reproduction features the iconic 1931 Monaco Grand Prix poster, originally designed by celebrated French artist Robe...

1981 Crayon and watercolour on paper 35.6 x 43.3 cm Signed with the artist's initials and dated 'DH. 1981' in the lower right Framed In 1966, Hockney was invited to produce set desi...

This large, abstract image celebrates the 13th Annual Community Holiday Festival, 1983 at Lincoln Center. It is signed and numbered by the artist from the edition of 144 (plus 18 APs) and was printed at Fine Creations, NY. This print comes directly from the publisher, Lincoln Center Editions...

Yvonne Canu (French, 1921–2008), Bouquet de fleurs, oil on canvas, signed lower right and dated 1980 — a Neo-Impressionist still life by the painter often described as the last of th...

Limited Edition Keith Haring spray paint set of 2: published circa 2018 featuring the Estate trademark of Keith Haring. A unique Haring collectible that makes for a fantastic Keith H...

SPACE VOYAGE is an original hand drawn lithograph by the Latin American Woman artist Raquel Forner(1902–1988) , paper size - 13 1/4 x 15 1/4 in., image size - 8 1/2 x 11 3/4 in. pri...

Artist: Arne Besser Title: Circus Triad Year: 1981 Print: Silkscreen printed on Somerset White Satin Size: 26 x 22 in Signed in pencil and marked A.P. 22/30 Unframed Arne Besser ...

Douglas Martenson (b.1960). Sleeping Man, 1982. Pencil on paper. Sheet measuring 11 x 15 inches. Framed measurement: 12 x 16 inches. Mahogany custom frame. Signed with artist i...

Polaroid, black and white 3.75 x 2.75 inches (9.5 x 7 cm) This artwork is offered by CLAMP, New York.

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Portrait de Face sur Fond Rose et Vert". The original painting was completed in 1917. In the...

Derek Boshier Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges Hand signed, numbered 38/50 and dated on lower front with printer's and publishe...

Erwin Rambow, American (1925 - 2013) - Owl, Medium: Offset Lithograph, Size: 19.5 x 15.5 in. (49.53 x 39.37 cm), Frame Size: 21.75 x 17.5 inches

Artist: Andy Warhol (1928-1987) Title: Blackglama, from the Ads Portfolio, 1985 Reference: FS IIB.351 Series: Ads Series, 1985 Medium: Color Screenprint on Lenox Museum Board Image S...

Offset print on paper realized in occasion of Prince's Exhibition at Galleria Rondanini, Rome. Excellent condition.

Colored lithograph on wove paper realized by Enrico Benaglia in 1980s. Edition of 130. Hand signed and numbered in pencil. Very good condition. This expressive lithograph by Enri...

Long before astronauts ventured into space Michael Forster captured the shifting face of the universe. Inspired by the radiant patterns and incandescen...

Screenprint from 20 screens with embossing. On Velin Arches mould-made paper Based on 'Lotus', textile dyes on hand-made Indian paper, 1978 Signed and dated in pencil, lower centre. ...

Howdy Doody By Andy Warhol Andy Warhol, a leading figure in the Pop Art movement, revolutionized the art world with his iconic works that celebrated consumer culture and celebrity...

Modernist dog portrait. Finely painted. Measuring 24 by 30 inches.

This abstract painting by the dutch artist Hans van Drumpt is signed and dated 1989. Late 20th-century European abstraction, expressionist influence. Very expressive and energetic. ...

Modern Mixed Media Textured Kimono in Neutral Blush, Collagraph Master Plate #2 This one-of-a-kind, highly textured, modern mixed media piece of a kimono in blush, warm neutrals is ...

For Lisa Color lithograph, 1984 Signed in pencil lower left (see photo) Numbered lower right corner Published to benefit the Los Angeles Children's Museum Printed by Brand X Editions...

In Arthur Pinajian's mesmerizing 1986 oil painting, a lush symphony of nature unfolds on the canvas. The artist's distinctive brushstroke techniques breathe life into the scenery of ...

David HOCKNEY (after) Cubist Portrait : Vogue Original Vintage Poster (offset-lithograph) Printed in France by Imprimerie Union in Paris 83 x 50 cm (c. 32.6 x 19.6 inch) This poster...

Warrior and Pegasus Fight the Kraken - Original Surrealist On Board Dramatic and dynamic fantasy scene by Russell R. Tripp (American, 1942-2025). This piece depicts a warrior atop a...