1980s Abstract Prints

Keith Haring Tony Shafrazi 1982: set of 4 printed works: A set of four double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony...

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

Victor VASARELY 1906 - 1997 EREBUS - 1982 Verre et bois Signature gravée sur le verre et numérotation sous la base "/2000" Edition Rosenthal studio-linie, Allemagne Dans sa boîte...

An Etching with Hand Coloring on paper, signed, numbered and dated in pencil by Argentinian/American artist, Diana Gandolfi.

Artist: Barry Le Va, American (b. 1941) Title: III from Plazas in Transition: Foundations of Fragmented Perspectives Year: 1981 Medium: Etching with Aquatint on grey BFK Rives, si...

Artist: Gregory Amenoff, American (1948 - ) Title: El Santurio de Chimayo Year: 1986 Medium: Lithograph, Signed and numbered in Pencil Edition: 40 Paper Size: 37 x 38 inches (93.98 x...

Presenting an authentic edition work by the esteemed artist Victor Vasarely, renowned for his distinct artistic style and captivating visual language. This limited edition piece offe...

Motif (Abstract) in orange, blue and gold abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

This original lithograph in colours is hand signed in pencil by the artist "Francis Bacon" at the lower right margin. It is hand numbered from the edition of 25 in Roman numerals, ...

Louise Nevelson (1899-1988) is one of the most revered and unique artists of the 20th century. There has been a renewed interest and appreciation for her extensive body of work. In 2...

A superb impression of this scarce color aquatint and lift-ground etching on German Etching paper. Signed and numbered 27/36 in pencil, lower right. Printed by Catherine Mousley in t...

Motif (Abstract) in orange and blue abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

Artist: Evelyn B. Johnson Title: Space Sounds No. 2 Year: circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 2/25 Image: 27 x 21 inches Paper Size: 30 x 22 inches

"The Prairie School Collection - Rug" is an offset lithograph poster with gold foil. This piece advertises an exhibition of Frank Lloyd Wright's designs. Unsigned. 34 7/8" x 22" art...

The Yellow Composition is a colored screen print realized by Renato Barisani in 1983. Hand-signed and dated in pencil on the lower right. Numbered in pencil on the lower left. Editi...

Artist: Joe Tilson, British (1928 - ) Title: Eleusis Proscinemi Year: 1980 Medium: Etching with Aquatint, signed and numbered in pencil Edition: AP 4/20 Size: 31.5 x 22.5 in. (80.01 ...

Alistair Grant was a printmaker, painter and illustrator. He was born in Kensington, London. His mother was from Etaples in Northern France: Grant retained the family home here and t...

Will Petersen, a painter, master printer and a poet, was born in Chicago. (Amer. 1928-1994) Will's formal art education began with classes at the Chicago Academy of Fine Arts. As a student at the city's Steinmetz High School, Petersen succeeded Hugh Hefner (of Playboy magazine fame) as the HS newspaper cartoonist, the Steinmetz Star. During this time, Petersen recovered from polio. In 1947 Petersen enrolled at Chicago's Wilbur Wright College. While there, he painted with oils for the first time. Two years later he enrolled at Michigan State University where he developed a strong interest in literature and writing and began printmaking. By 1951 he had begun to exhibit paintings and prints nationally. A year later he completed his master's degree. Petersen served in the United States Army from 1952-54, spending one year as an education specialist in Japan. This encounter with the Japanese culture affected his entire life. He became interested in calligraphy and Noh, classical Japanese Buddhist performance that combines elements of drama, music and poetry. Upon completion of his military service in Japan in 1955, Will Petersen settled in Oakland, California, where he met some of the most active poets of the Beat Generation: Gary Snyder, Allen Ginsberg, Jack Kerouac, Phil Whalen, Mike McClure and others. Petersen was attracted to the group by their intelligence and belief in Zen Buddhism. In 1956 in his small studio in Oakland, he printed the poems of Jack Kerouac. He attended for the first time, the reading of Ginsberg's Howl at Six Gallery. His relationship with Gary Snyder had begun when both were in Kyoto, Japan; later Snyder wrote for the Plucked Chicken. Petersen returned to Japan in 1957, pursuing painting, printmaking and writing for eight years while living in Kyoto. In 1965 he accepted a faculty appointment at Ohio State University, teaching drawing, painting and printmaking. Four years later Petersen took his teaching skills to West Virginia University in Morgantown, where he concentrated on printmaking. He taught there until 1977 when he began publishing Plucked Chicken, a journal of art and poetry. In 1978 in Morgantown, Petersen and his wife, Cynthia Archer, established Plucked Chicken Press, which they later moved to Chicago and then Evanston. Petersen operated the Press until his death on April 1, 1994. 1956 In storefront studio in Oakland, California, creates signed serigraphs and lithographs. Prints poems of Jack Kerouac. 1961 Back in Japan, acquires a lithography press and stones and resumes printing lithographs. Exhibits regularly with Kyoto Printmakers. 1969 Resident lithographer at the Lakeside Studio, Lakeside, Michigan. Prints for the first time Richard Hunt lithographs. 1978 Establishes Plucked Chicken Press in Morgantown, West Virginia. Resident lithographer at Lakeside Studio in Michigan. 1980 Plucked Chicken Press moves to Chicago. Publishes lithographs by Don Crouch and Art Kleinman. 1982 Publishes Blossom, a lithograph/collage by Tom Nakashima. 1983 Series I of Plucked Chicken Press is published with work by Archer, Duckworth, Godfrey, Heagstedt, Himmelfarb, Hoff, Hunt, Martyl, Miller, Nakashima and Petersen. 1984 Plucked Chicken Press moves to Evanston. Series II of Plucked Chicken Press is published with works by Croydon, Ho, Archer, Torn, Osver, Middaugh, Roseberry, Petersen, Spiess-Ferris and Hoppock. 1985 Series III of Plucked Chicken Press is published with works by Driesbach, Hunt, Trupp, Gregor, Pattison, Conger, Evans, Weygandt, Archer, Ho and Petersen. Prints Suite I, Northern Illinois University Collectors Series, with lithographs by Renie Adams, David Bower, David Driesbach, Carl Hayano and Ben Mahmoud, all faculty members of the art department at Northern Illinois University. 1986 Publishes Richard Hunt s Over Wisdom Bridge. 1987 Series IV of Plucked Chicken Press is published with works by Bustos, Archer, Martyl, Petersen, Smith, Gordon, Gadomski and Godfrey. 1990 Series V of Plucked Chicken Press is published with four floral lithographs by Winifred Godfrey...

Each print signed and numbered in pencil by the artist Total edition: 92: 75 with Arabic numerals; 10 Artist's proofs with Roman numerals; 7 Hors Commerce with Roman numerals Image...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Embryo Year: 1982 Medium: Screenprint, signed and numbered in pencil Edition: 130 Image Size: 18 x 25 inches Size: 22 x 29.5 in. (5...

Edward Giobbi In a Landscape #1, from Long Point Gallery Portfolio, 1988 Lithograph on paper with deckled edges Hand signed, numbered 22/3...

This serigraph was created by German Op artist Herbert Aach. Aach's prints play with geometry and form, and trick the viewer's eyes by juxtaposing bright neon colors. This print is s...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick. Jo...

Artist: Georgette Batlle Title: Collage Elements III Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 125 Size: 44 x 30 in. (111.76 x 76.2 cm)

Yaacov Agam is an Israeli artist best known for his pioneering of Kinetic Art. Employing light and sound to provide a unique sensorial experience for the viewer, Agam melded formalis...

A very good impression of this color aquatint on Arches. Signed and numbered 3/48 in pencil by Chamberlain. Published by Novak Graphics, Toronto, with the black ink stamp, verso, and...

Silksreen, 1981 Handsigned by the artist in pencil and numbered 11/60 Catalog : [Benavides 872] 79.50 cm. x 76.00 cm. 31.3 in. x 29.92 in. (paper) 65.00 cm. x 65.00 cm. 25.59 in. x...

Howard Hodgkin produced the lithograph Indian Leaves in 1982 on the occasion of his exhibition of the same title at Tate, London, in the same year. After it was decided that the pri...

Screenprint, lithograph and linocut in colours with collage, marbling and hand-colouring, 1989, on T. H. Saunders and Somerset papers, signed and dated ‘88’ in pencil, numbered 'AP I...

Splice, 1975 Bridget Riley Screenprint in colours, on wove Signed, dated, titled and, numbered from the edition of 45 Printed by Graham Henderson, London Sheet: 75.3 × 54 cm (29.6 ×...

Amsterdam V is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade and is bo...

Raymond Pettibon Black Flag, 1981: Rare early Raymond Pettibon Black Flag Punk Flyer - illustrated by Pettibon on the occasion of: Black Flag, Stains, Youth Gone Mad, Caustic Cause,...

Title: L' Alesienne Year: 1982 Medium: Lithograph on Arches paper Size: 29.25 x 21.75 inches Edition: 17/1000; 1000, plus proofs Condition: Good Inscription: Signed in the plate and ...

Selected from the personal collection inherited by Marina Picasso, Pablo Picasso's granddaughter. After Pablo Picasso's death, his granddaughter Marina authorized the printing of t...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Screenprint on Fabriano paper , edited in 1985 Limited edition of 125 copies signed in pencil by artist and numbered as: 46/125 paper size: 68 x 68 cm ( 26 5/8 x 26 5/8 inch ) very good conditions Published by Fausta Squatriti, Milan A regular certificate of authenticity will be included Fast and Tracked shipping with express currier DHL Bibliography: The prints on Anni Albers Ref 95 Anni Albers ( 1899 – 1994 ) – Double Weave...

La melodie acide. original lithograph painting. signed on the stone and numbered 384/1500

Edition of 200 Coney Island Philomena Marano is known for her colorful cut paper technique. She worked with Robert Indiana. Ms. Marano's work is in m...

Pencil signed, dated, titled and numbered. Image 26" x 18"

YES TO LIFE-NO TO DRUGS (Oui À La Vie-Non À La Drogue) is a handmade color lithograph by the internationally recognized Syrian artist Mohammad Sami Burhan printed on archival Arches ...

the painting is being offered with a work and authenticity certificate

Wearing a green apron, the woman in this Pablo Picasso print is rendered entirely of angular shapes outlined in white and black lines. A lithograph from the Marina Picasso Estate Col...

Jim Dine Galerie Maeght exhibition print, 1983 Lithograph and offset lithograph Signed in plate 31 1/4 × 21 inches Limited Edition of 500 Unframed This colorful print was made for th...

Lithograph on vélin paper. Paper Size: 15 x 11 inches, each; 15 x 22 inches, overall. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 2...

Art Expo 82 San Francisco Poster. Measures 36 x 24 inches and is unframed. The piece is in Fair Condition-discoloration/wrinkling/surface abrasion...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 250,...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), From the Book of the Dead of a City (IV), 1983. Color etching, copy 16/60, 15.5 x 18.5 cm (imag...

An abstract, black and white lithograph contained in an interesting shape enclosed by clean negative space. Signed L. Siekman, titled Jupiter Four and numbered 9/10. It is part of a ...

Abstract Composition is an original lithograph realized by Nelia Licenziato in 1980. Hand-signed and dated on the lower right. Artist's proof. The state of preservation of the art...

Jim Dine The First Woodcut Gate (The Landscape) Hand Embellished Woodcut, 1983 Size : 35.75” x 44.75” inches Edition number 27 of 49 with 7 APs Signed and dated in pencil Printed ...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 250, Hommage à Aimé et Marguerit...

"Finest Hope" is an original color lithograph by Michael Knigin. The artist signed the piece in the lower right and wrote the edition number, 182/300, in the lower left with graphite...

Yaacov Agam Chateau Mouton Rothschild label (hand signed), 1984 Offset lithograph (hand signed by Yaacov Agam) Hand signed twice in black and ...

Westerplatte - Polish Manifesto is an original offset poster print in 1973 ca. The artwork was realized for the memoir of 1939 . Good conditions except for some folding and consume...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 250,...

One of a kind: once in a lifetime piece: David Hockney Los Angeles Music Center Opera Poster (Hand signed by Hockney + 40 artists), 1987 Off-set Lithograph Poster The signatures on t...

Gorgeous lithograph in primary and secondary colors. Heavy paper with beautiful edges. Signed and dated 1988 in pencil by the artist on the front and again dated and titled on the ba...

Keith Haring crack down! 1986: Vintage original 1986 Keith Haring illustrated Crack Down! benefit program. This folding pamphlet was designed & illustrated by Keith Haring (along with a poster of same), for the 1986 "Crackdown on Crack" concert at New York City’s world...

Etching realized by Pierre Alechinsky in 1987. Specime out of commerce (HC), hand signed in pencil. Includes a wooden frame cm. 57.5x47.5. Very good condition.

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of American abstract painters that radically defined Modern painting...