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Niki de Saint Phalle Invitation au Musee, original museum poster, 1993 Silkscreen on wove paper 16 × 24 inches Unframed (not signed) original poster; not a later reprint This stunnin...

Bernar Venet Sit on Steel (Hand Signed & Inscribed), 1991 Offset lithograph poster. hand signed. dated. dedicated. Boldly signed, dated and inscribed in silver sharpie on the front 26 3/4 × 18 1/4 inches Unframed Rare vintage poster, hand signed and dedicated by Bernar Venet to the legendary sculptor Isaac Witkin...

George Rickey Large: 39 inches (vertical) x 24.5 inches (horizontal) (Ships rolled in a tube measuring: 35 x 5) Two Lines Excentric Jointed with Six Angles, 1986 Limited Edition Offs...

Marcel Duchamp Hommage a Caissa (for the Marcel Duchamp Fund of the American Chess Foundation), 1966 Silkscreen Poster with Gold Matting Frame included Measurements: Framed: 26.25 x...

Keith Haring 1987: The Yale Vernacular 1987, featuring classic cover art by Keith Haring. A rare stand-out vintage 1980s Keith Haring collectible that would look fantastic framed. Fe...

Original Air France Grece vintage travel poster. Linen-backed original travel poster by Air France to Greece. Stylized Greek columns and the Parthenon in Athens, Greece sit on a me...

Keith Haring Rare Hiroshima Peace Celebration poster (hand signed by Keith Haring), from the Patrick Eddington Collection, 1988 Original offset litho...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

Please be aware that all prints are produced to order. Lead times expected between 15-20 days. Prices may change due to currency fluctuations. Giclée print on Archival Matte Paper ...

Original Offset-Print of Hans Ticha and Ernst Jandl

Original vintage exhibition poster: HENRI MATISSE EXHIBITION. Linen baked in excellent condition, ready to frame. The background is a flat...

A set of 4 vintage Jean-Michel Basquiat announcement cards & one rare early 1990s folding exhibition pamphlet published on the occasion(s) of: “Emerging New York Artists,” Group Sho...

Original French cruise line vintage poster: SGTM, Societe Generale de Transports Maritimes, Marseille. Original vintage travel poster, c. 1955. Archival linen backed original, ex...

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

Christo and Jeanne-Claude Christo (Hand Signed by Christo), 1971 Offset lithograph Hand signed in pencil by the artist on the lower right front Published by Annely Juda Gallery, Lond...

Roy Lichtenstein Historic 1960s exhibition invitation for Galleria Apollinaire, 1965 Offset lithograph poster Frame included This poster/invitation was published for Lichtenstein exh...

John Muench at Joan Whitney Payson Gallery of Art (Signed by John Muench), ca. 1982 Offset lithograph poster (Hand signed by John Muench) Hand-signed by artist, Pencil signed by John Muench on the front 25 × 19 inches Unframed This poster was published for the exhibition John Muench at Joan Whitney Payson Gallery of Art from January 30 to March 13, c. 1982. The image depicted is John Muench, Spring Comes to Maquoit Bay. Publisher Joan Whitney Payson Gallery of Art About John Muench: John Muench was born in Medford, MA, on Oct. 15, 1914. He was the son of James Adams Muench and Marjorie Davie Muench. On Sept. 6, 1941, he married Barbara Davey and they had four children, Robin, Anthony, Katherine, and Jon. A painter and lithographer, he was largely self-taught, with some training at the Art Students League in New York and Academie Julien in Paris. He served as Director of the School of Fine and Applied Art in Portland, Maine from 1958-1965 and as Associate Professor of Art at the Rhode Island School of Design from 1965-1976. He ended his academic tenure as director of the Maine Printmaking Workshop and as artist-in-residence at Westbrook College in Portland, Maine. His paintings and prints have been exhibited in galleries around the world, including the Metropolitan Museum of Art, the Smithsonian Institution, The National Museum in Jerusalem, and the Victoria and Albert Museum in London. Locally, his work has been displayed at the Farnsworth Museum in Rockland, at Bowdoin College in Brunswick, and at the Joan Whitney Payson Gallery in Portland. Several of his works are included in the University of Maine art...

Robert Rauschenberg Earth Day, 1970 Offset Lithograph Plate signed and dated on the front Publisher: Castelli Graphics 33 1/2 × 22 1/4 inches Unframed This is the original 1970 offse...

Original poster. Linen-backed original Swiss poster "AARAU LADET EIN" An old travel poster with a modern flair to visit Aarau. It has a bea...

Warhol Unlimited, 2015 Silkscreen on thin linen canvas backing 63 × 47 inches Unframed Exhibition posters are a great way to collect a piece of art history, from vintage prints adver...

Geo Ripley (Venezuela, 1950-2021) 'S/T 1', N/A silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 50 ID: RIP1397-001-050 Hand-signed by author

Mark Ryden Dodecahedron (Hand Signed by Mark Ryden), 2015 Offset Lithograph poster (hand signed by Mark Ryden) Hand signed by artist on lower right front for the present owner. 20 × 16 inches Unframed This Mark Ryden offset lithograph poster was published on the occasion of his exhibition at the Paul Kasmin...

Robert Motherwell The Quarrel (Belknap 294; Engberg & Banach 318), 1983 Lithograph in colors on Arches cover mould paper Hand signed and numbered 1/100 in graphite on the front with publisher's distinctive blind stamp. Accompanied by original Tyler Graphics label 40 × 25 1/2 inches Unframed Hand signed and numbered in graphite on the front with publisher's distinctive blind stamp. The work has been removed from its original frame, but the back board has been kept bearing the original label from the publisher, Tyler Graphics, New York. There is no better art work for kissing and making up than "The Quarrel"! This rare Robert Motherwell lithograph...

Ed Ruscha 200 Years Old, 1980 Offset lithograph Hand signed and numbered 132/425 by Ed Ruscha in graphite pencil on the front 30 1/2 × 25 inches Unframed This is a quintessential Los Angeles print...

Nam June Paik Do You Know...?, from the New York Collection for Stockholm portfolio, 1973 Silkscreen on paper, in original portfolio sleeve Signed and dated '73 and numbered 36/300 i...

Kenny Scharf Bad Girls, 1989 Lithograph done with 9 colors and 10 plates on Velin Arches Blanc paper Hand signed and numbered PP by Kenny Scharf on the front...

Richard Lindner Adults-Only, 1979 Offset lithograph poster Plate signature with date, right front Frame Included: held in vintage 1970s metal period frame This is a rare vintage post...

Larry Rivers Larry Rivers Hirshhorn Museum and Sculpture Gallery (Hand Signed), 1974 Silkscreen in colors on wove paper Hand Signed, annotated HC and numbered in white marker from th...

Roy Lichtenstein Paintings Drawings Collages Prints at Kent State University, 1976 Historic Offset Lithograph Poster 21 × 15 3/4 inches Unframed Limited edition highly collectible vintage Roy Lichtenstein poster. It was acquired from the estate of Ohio artist Joseph O' Sickey, a personal friend of Roy Lichtenstein, who was involved with the creation of the show. Very few of these posters remain, and in fact the only other one we have seen in recent years also came from O'Sickey's estate. "Lichtenstein", 1976, exhibition invite/poster, Kent State University School of Art, January 4-23-1976, lithograph on paper. This image is a 2 color version of Lichtenstein's 1972 work "still life with goldfish bowl and painting of a golf ball", which was inspired by Henri Matisses's 1912 work "goldfish." In very good condition with original folds, as issued Over the course of his career, Roy Lichtenstein designed 70 posters...

David Hockney New Work With A Camera (Hand Signed), 1983 Offset Lithograph Poster Hand signed by the artist on lower right front 39 × 24 1/2 inches Unframed This offset lithograph p...

Robert Indiana Anne inspired by Susan B. Anthony, 1977 Color Lithograph on Arches Paper Hand Signed, dated and numbered 93 from the limited edition of 150 (93/150) front in graphite ...

Roy Lichtenstein Historic early 60s gallery poster, 1962 Offset Lithograph 21 4/5 × 17 inches Unframed This is a highly collectible, historic 1962 exhibition invitation by the Mi Cho...

Richard Prince Angie Dickenson (Angie from Untitled Portfolio) from the estate of Vera G. List, 1986 Large Color Polaroid (w/Barbara Gladstone & Sotheby's Gallery Labels) Signed and ...

Raymond Pettibon: Black Flag at Vex 1983: Handbill/ punk flyer for gig by Black Flag, Flesheaters, The Dicks, Saccharine Trust, Redd Kross, The Dicks, & Nip Drivers featuring artwork...

Original mixed media, unknown year. Edition of 80 signed and numbered impressions on Arches paper. Mimmo Rotella was an Italian post-war artist, best known for his decollage and psyc...

Created in 2000, this color screenprint is hand-signed by Robert Rauschenberg (Port Arthur, 1925 - Captiva, 2008) in pencil in the lower left margin and is numbered from the edition ...

TECHNICAL INFORMATION: Robert Indiana Summer, from Four Seasons of Hope 2012 Silkscreen 35 x 29 1/2 in. Edition of 125 Pencil signed and numbered

TECHNICAL INFORMATION: Robert Indiana Spring, from Four Seasons of Hope 2012 Silkscreen 35 x 29 1/2 in. Edition of 125 Pencil signed and numbered