Offset Figurative Prints

Milton Glaser Posters 1967-1980: A curated collection of 8 individual vintage Milton Glaser posters (1967-1980): Collection Includes: - Saratoga Festival Poster 1980: 24x36 inches. Created for the annual summer arts festival held in Saratoga New York. - Bob Dylan Souvenir Poster c. 1967: 33x22 inches. Most iconic of all Milton Glaser posters, created for Bob Dylan's "Greatest Hits" LP. - Sony Tape Full Color Sound poster 1980: 30x45 inches. Original vintage poster created by Glaser for the world-recognized brand Sony. - Temple University Music Festival...

Keith Haring’s First Solo Gallery Exhibition: Rare original Keith Haring exhibit poster for 'Keith Haring Drawings' Oct. 9 - Nov. 13 - 1982, at Tony Shafrazi Gallery, New York. An ex...

Keith Haring Nuclear Disarmament poster 1982: In 1982 Keith Haring created this poster for Nuclear Disarmament, which features his signature Radiant Bab...

Basquiat: Vrej Baghoomian gallery New York, 1989: Vintage original folding announcement card to Jean-Michel Basquiat at Vrej Baghoomian Gallery New York: 10/21 to 11/25, 1989. Pictured on front side is an image of Basquiat's iconic, 'Red Warrior.' A rare, highly collectible Basquiat ephemera piece that works well in any collection. Off-set printed gallery announcement. 8.75 x 5.75 inches (folded closed). Light signs of handling; otherwise very good overall vintage condition. Published by Vrej Baghoomian Gallery, New York, 1989. Unsigned from an edition of unknown. Scarce. Jean-Michel Basquiat rose to success during the 1980s. Basquiat’s paintings are largely responsible for elevating graffiti artists into the realm of the New York gallery scene. His spray-painted crowns and scribbled words referenced everything from his Haitian and Puerto Rican heritage, to political issues, pop-culture icons, and Biblical verse. The gestural marks and expressive nature of his work not only aligned him with the street art of Keith Haring and Kenny Scharf, but also the Neo-Expressionists Julian Schnabel and David Salle. “If you wanna talk about influence, man, then you've got to realize that influence is not influence,” he said of his process. After quickly rising to fame in the early 1980s, Basquiat was befriended by many celebrities and artists, including Andy Warhol, with whom he made several collaborative works. At only 27, his troubles with fame and drug addiction led to his tragic death from a heroin overdose on August 12, 1988 in New York, NY. The Whitney Museum of American Art held the artist’s first retrospective from October 1992 to February 1993. Related Categories: Basquiat Tony Shafrazi. Basquiat ephemera. Basquiat poster. Basquiat prints...

Raymond Pettibon Black Flag: Rare 1984 Raymond Pettibon illustrated Black Flag promotional flyer published to advertise the release of the Black Flag album 'Slip It In'. Offset printed; 17 x 11 inches. 1984. Condition: Minor signs of handling; center fold-line; in otherwise good to very good overall vintage condition. Unsigned from an edition of unknown. Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic logo: "Before I knew what Black Flag was I remember walking around Hollywood and seeing Raymond's flyers and being like, 'What the fuck is that?'… Those flyers made me feel like something is going on and it's romantic and it's mysterious and it's heavy and I don't know what it is but I wanna know." About Raymond Pettibon (Americanb. 1957) Raymond Pettibon is a contemporary American artist known for his stylized ink drawings combining images and text. His inventive narratives blend historical content with consumer culture to yield incisive critiques of contemporary society. “I was making my work as transparent as possible, without equivocations, without calling attention to itself, without apology,” he explained. “There's a lot of conventions in the art world that are not to be transgressed, but my economy of means doesn't abide by those strictures.” Born Raymond Ginn on June 16, 1957 in Tucson, AZ, the artist is self-taught, but cites drawings by William Blake, Edward Hopper, Francisco Goya, and John Sloan as instructive to his practice. Deriving inspiration from comics, cartoons, and other pop culture iconography, Pettibon began designing album covers and ephemera for his brother’s band Black Flag in the mid-1970s. He went on to produce cover art for Sonic Youth, the Minutemen, and the Foo Fighters...

Keith Haring ‘Kutztown Connection’ 1984: This rare vintage 1980s Keith Haring poster was illustrated by Haring in conjunction with the Benefit Pe...

Keith Haring Into 84/Keith Haring Painted Man 1983: Announcement card for Keith Haring’s well-documented exhibition, 'Into 84' at Tony Shafrazi Gallery, New Y...

Keith Haring Pop Shop Collection (c. 1986-1992): A collection of 15+ vintage Keith Haring Pop Shop collectibles- items range from an original large size Keith Haring illustrated draw...

Raymond Pettibon illustrated Punk flyer 1984:
 Black Flag at Perkins Palace May 5, 1984 featuring original artwork by Raymond Pettibon. Medium: Offset Printed Punk flyer. Dimensions: 8.5 x 11 inches. Condition: Scattered small pin holes, minor signs of handling, and a center fold line visible from the back side. In otherwise good overall vintage condition.
 Printed signature on lower right. Further History:
 Between the years 1978 and 1986 Raymond Pettibon (aka, Raymond Pettibon; St. Pettibone) produced a now historic amassment of graphic works for seminal Southern California punk bands such as Black Flag, the Dead...

1963 Offset lithograph in colors, on wove paper Sheet: 18 x 24 inches Edition unknown Signed in pencil, lower right Framed

Raymond Pettibon illustrated Punk flyer 1981: Throbbing Gristle at Veteran's Auditorium May 22, 1981 featuring original artwork by Raymond Pettibon. ...

Francis Bacon Grand Palais, 1972: Vintage 1970s Francis Bacon exhibition poster published on the occasion of: Francis Bacon at the Gran...

Litho-offset on pale green tissue paper

1964 Offset lithograph in colors, on wove paper Sheet: 23 x 23 inches Edition of 300 Signed and dated in black ink, lower right Unframed, pristine condition

1964 Offset lithograph in colors, on wove paper Sheet: 23 1/8 x 23 1/8 in. Edition of 300 Signed and dated in ballpoint pen, lower right Unframed, pristine condition

1964 Offset lithograph in colors, on wove paper Sheet: 23 x 23 in. Edition of 300 Signed and dated in pencil, lower margin

1990s Keith Haring exhibition poster: Original Exhibition poster for Keith Haring at San Francisco Museum of Modern Art, May 08-September 08, 1998; an exhibit which featured a complete retrospective of Haring's work, from his childhood doodles and early New York subway drawings to large-scale paintings during his final years. Off-set lithograph on heavy wove paper. 24 x 36 inches. Unsigned from an edition of unknown. Bright, vibrant colors. Some minor signs of handling; otherwise very good overall. Contains trademark of Haring Estate on lower center edge. Further Background: Image featured in this poster is Haring's, "Drawing for Headstand 1988. De Young Museum's regarding Haring's symbolism here: "Human figures depicted upside-down are usually B-boys and B-girls, the dancers of hip-hop, doing the iconic move in which they spin on their head. Figures contorting in backbends or jumps are probably also depictions of break dancers." Haring’s work has long been a part of San Francisco’s visual culture. He created works for diverse venues in San Francisco during his lifetime, including murals for DV8, a club once located in the South of Market neighborhood, and a huge, multi-panel painting for the South of Market Childcare Center (also known as the Saint Patrick's Daycare Center). Haring’s outdoor sculpture Untitled (Three Dancing Figures) (1989), located at Third and Howard Streets, is a prominent feature of Moscone Convention Center, and his triptych altarpiece The Life of Christ (1990) is installed in the AIDS Chapel at Grace Cathedral...

1999 Offset lithograph in colors on paper Sheet: 14 1/5 x 10 1/5 in. Edition unknown Signed in plate on recto

1999 Offset lithograph in colors on paper Sheet: 14 1/5 x 10 1/5 in. Edition unknown Signed in plate on recto

1999 Offset lithograph in colors on paper Sheet: 14 1/5 x 10 1/5 in. Edition unknown Signed in plate on recto

1999 Offset lithograph in colors on paper Sheet: 14 1/5 x 10 1/5 in. Edition unknown Signed in plate on recto

Keith Haring at Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s announcement for two Keith Haring exhibitions: Keith Haring at Tony Shafrazi Gallery, October 26...

This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few that were hand signed by Hyman Bloom for his close friend the artist Martin Sumers. It depicts a 1955 charcoal drawing Rabbi with Torah. Provenance: Acquired from the Martin Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...