1980s Figurative Prints

Etching and aquatint realized by Fifo Stricker in 1985. Edition of 60 (50 in arab numbers and X in roman numbers). Hand signed, numbered and dated. Excellent condition.

Association "Massimiliano Kolbe". Exhibition in Gallery Rondanini, Rome, 1987. Excellent condition.

"Sinatra & Pavarotti" original etching by artist Al Hirschfeld. Caricature portraits of Luciano Pavarotti and Frank Sinatra in concert. Hand pulled from an edition of 200 plus 30 art...

GANGSTERS by the woman artist Robin Morris, is an original limited edition lithograph printed in 15 colors using hand lithography techniques on archival Arches paper, 100% acid free....

 The Mountain and the Rose is a beautiful offset realized by Gino Marotta. Limited edition of 1.000. Good conditions. Colored poster from a photograph by Gino Marotta.

George Segal (signed and inscribed by George Segal), 1989 Hardback monograph with dust jacket (signed, dated and inscribed for Tera by George Segal) Warmly signed, dated 3/27/1998 an...

Blue Volcan is a contemporary artwork realized by the artist Fifo Stricker in 1984. Mixed colored aquatint and etching. Original title: Der Blaue Vulcan Hand signed by the artist o...

’Friday’ By Jane Anderson Medium - Lithograph Edition - 26/70 Signed - Yes Size - 765mm x 550mm Date - 1987 Condition - Excellent. 10 out of 10. Colour of print may not be accurate when viewed on a monitor. Jane Anderson was born 1952 in Portsmouth, England and studied at Ealing School of Art and the Slade School of Art, London. She worked with the Treadwell Gallery from 1972 till 1990. It is interesting to note how her work developed from the heterosexually sexy drawings...

Signed Limited Edition Etching by Charles Bragg. Women in Golf Suite : The Perfect Couple 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 100/300 Unframed Ch...

Groucho Marx Caricature Drawing Movie Star Comedy Legend NTY Times Published Al Hirschfeld (American, 1903 - 2003) Groucho: A Life In Revue Sight: 23 3/4 x 11 3/4 Lithograph on pape...

black and white etching on paper unframed #14/30 image size 12 x 14.5 signed, titled & numbered by the artist under the image on the front. COHOE, Grey 1944-1991 PERSONAL: Born 1944, in Tocito, NM; died November 2, 1991. Education: Attended Institute of American Indian Arts, 1966-67, College of Santa Fe, 1967, Fort Lewis College, 1968, and Haystack Mountain...

A lithograph depicting a woman and her suitors, drawing by John Lennon, print published by his estate (Bag One Arts) in 1986. Date: 1986 Lithograph on ...

Jonathan Borofsky 2779494: The Olympic Runner Los Angeles 1984 Olympic Games (Hand Signed with Olympic Committee COA), 1982 Offset Lithograph on Parson'...

Joan Miró La Mélodie Acide - 8 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...

ICARUS I is an original hand-drawn lithograph created in 1986 by the French American artist Marius Sznajderman, printed in neutral warm grays and intense black on archival Arches pap...

STREET SCENE is an original hand drawn lithograph by the NY painter, Lester Johnson. Printed using hand lithography techniques on archival ARCHES paper 100% acid free. In STREET SCEN...

Larry Rivers (American, 1923-2002) Larry Rivers Exhibition, Hirshhorn Exhibition Poster, 1981 Lithograph (?) Sight: 34 3/4 x 24 1/2 in. Framed: 36 x 24 1/2 x 1 1/4 in. Signed and num...

Joan Miró La Mélodie Acide - 11 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9...

Ed Ruscha America Needs Hart (Hand Signed), 1983 Offset lithograph (Hand signed by Ed Ruscha) 36 inches (vertical) x 24 inches (horizontal) Boldly signed in marker by Ed Ruscha on th...

Mana (Girl), Hopi Kachina lithograph by Dan Namingha black and white hand pulled color lithograph signed and numbered by the artist unframed

Lithograph realized by Ugo Attardi in 1985. Very good condition. Ugo Attardi was born in Sori, near Genoa, in 1923 - 2006 In 1948 in Rome he shared with Carla Accardi, Pietro Consa...

SUNBATHER is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the Dutch artist Nico Vrielink printed using traditional hand lithograp...

Star Wars: The Empire Strikes Back 1980 Vintage Battle of Hoth Lobby Card Original Star Wars lobby card of the battle of Hoth Framing options available: Black, brown, white and pe...

Artist: George Clair Tooker, Jr., American (1920 - 2011) Title: Un Ballo en Maschera Year: 1983 Medium: Color Lithograph, signed and numbered in pencil Edition: 250 Paper Size: 22 x ...

SIX GEISHA WITH FLOWERS is an original hand drawn lithograph on archival Somerset printmaking paper, 100% acid free by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, ...

Image D'un Été is an original hand drawn limited edition lithograph printed using hand lithography techniques on archival Somerset paper, 100% acid free, by the Dutch artist known as CORNEILLE(Guillaume van Beverloo) an abstract expressionist who co-founded the 20th Century experimental art movement CoBrA recognized for their spontaneous, rebellious style of painting that was heavily inspired by the art of children and the mentally ill. Corneille devises his colorful fantastic imagery with exotic plant forms, sensuous female bodies, animals and lively pattern design. Image D'un Été confronts the viewer with a bold erotic red female nude with blue hair and an exotic tropical bird soaring beneath the heat of a blazing red orange sun. Print size - 23.25 x 19.75 in. unframed, vivid colors, pencil signed by Corneille Edition size - 200, plus proofs Year published - 1981 Printer - J K Fine Art Editions Co., NY About the artist Corneille - Guillaume Corneille was born in Liege, Belgium on July 3, 1922. Corneille studied drawing at the Amsterdam Rijksakademie, but as a painter he was entirely self-taught. After having attended courses at the School of Fine Arts in Amsterdam, he started his painting experience influenced by Surrealism. Corneille, also known as Corneille Guillaume Beverloo, was a painter and graphic artist who radicalized the conservative Dutch art world in the early 1950s. He is co-founder with Karel Appel, Eugene Brands...

This gorgeous offset lithograph poster was created on the occasion of the Eva Arnold exhibition, Marilyn Monroe: An Appreciation, at the famed Leo Castelli Gallery in 1987 - Castelli...

Embossed collagraph by Patricia A. Pearce (American, b. 1948). Numbered, titled, and signed along the bottom edge ("7/25 Kimono 11 Patricia A Pearce"). No frame. Image size: 27...

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. A piece of history! 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...

Antonio Lorenzo Carrión (Spain, 1922) Piloto de Pruebas I, 1986 Etching and aquatint on paper Image size: 7.08 x 4.92 in (18 x 12.5 cm.) Sheet ...

Artist: Kirk Reinert Title:Dreams of Spring Year: 1988 Medium: Limited Edition Lithograph Edition: Signed in pencil and marked 89/199 Size: Paper size 36 x 22" inches Published by El...

Chinese augural prints art edition Menarini Florence 1982. Linked to Chinese folk customs and daily life, the prints are popular ornaments for Lunar New Year decorations and express ...

Original exhibition poster commemorating David Hockney's 1982 show at Andre Emmerich Gallery, New York. This poster reproduces Hockney's 1982 photo montage Gregory, Los Angeles March...

A lithograph reproduction from the Marina Picasso Estate Collection after the Pablo Picasso painting "Ne se tordant les cheveux". The original p...

Marcel Marceau, French (1923 - 2007) - Le Troisieme Oeil (The Third Eye) Portfolio, Year: 1981, Medium: Portfolio of Ten Lithographs on Arches, each signed and numbered in pencil, ...

Artist: Richard Merkin (American, 1938-2009) Title: "Oedipus and Luxor" *Signed by Merkin in pencil lower right Circa: 1980 Medium: Original Screenprint on white Arches 88 paper Limi...

Walasse Ting Lady with Vase - 1981 Lithograph on Somerset paper   22'' x 30'' Edition: signed and numbered in pencil 196/200 Walasse Ting (DING XIONGQUAN) (October 13, 1929 – May 17...

Dennis Oppenheim Image Intervention (Hand Signed), 1984 Offset Lithograph (hand signed and dated by Dennis Oppenheim) Hand signed and dated on the middle front 28 × 20 inches Unframe...

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...

Figurative etching 1 of 1. by Patricia A. Pearce (American, b. 1948). This piece was created after one of her early drawings, likely from when she was 29, as indicated by the title. ...

Beuys' Exhibition "meeting with Beuys" is a poster realized for the Marino Gallery - Galleria Art Center  (in Piazza Mignanelli, Rome) where Joseph Beuys' Exhibition was held in 1985...

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Diner Original 1982 Lobby Card Vintage 1982 Diner Lobby Card showing Kevin Bacon, Mickey Rourke, Steve Guttenburg, Paul Reiser, Tim Daly and Daniel Stern wal...

Star Wars: The Empire Strikes Back 1980 Vintage Lobby Card #14 Original Star Wars lobby card of Storm Troopers on the death star Framing options available: Black, brown, white and ...

Artist: Sandro Chia, Italian (1946 - ) Title: Untitled - The Archer Year: circa 1985 Medium: Lithograph, Signed and Numbered in Pencil Edition: 197/500 Paper Size: 28 in. x 21.5 in....

Artist: Donna Summer, American (1948 - 2012) Title: My Favorite Doll Medium: Lithograph, signed and numbered in pencil Edition: 64/300 Size: 33 x 25 in. (83.82 x 63.5 cm)

Richard Shepard, American (1926 - 2000) - The Pretzel Man, Year: 1989, Medium: Lithograph, signed and numbered in pencil, Edition: 23/350, Size: 21 x 11.5 in. (53.34 x 29.21 cm),...

Richard Haas View of the Mall From a Castle Tower, 1983 Seven-Color Lithograph: Hand Drawn on English Somerset Satin 100% rag paper 14 1/4 × 43 3/4 inches...

Daphnis and Chloè is an original lithograph after Marc Chagall realized for the illustrated book "A même la pierre", Fernand Mourlot Lithographe, Pierre Bordas & Fils, Paris 1982. E...

Artist: Fritz Scholder (Native American, 1937-2005) Title: "ASU Portrait II" Portfolio: Arizona State University Centennial Portfolio *Signed by Scholder in pencil lower right Year: 1984 Medium: Original Lithograph on Arches Cover buff paper Limited edition: 49/100 Printer: Joseph M. Segura of the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Publisher: the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Reference: "Collaborative Works: Recent Work and Catalogue Raisonné of the Visual Arts Research Institute" - ASU/VARI No. 121, page 98 Sheet size: 20.25" x 15" Condition: Never framed, has been professionally stored away within its original portfolio case for decades. In mint condition Not a single example of this work has ever appeared at auction in over 40 years. Extremely rare Notes: Provenance: one owner ever - private collection - Scottsville, AZ; acquired directly from the publisher the Print Research Facility, School of Art, Arizona State University, Tempe, AZ upon its release in 1984. Numbered by Scholder in pencil lower left. Comes from the 1984 "Arizona State University Centennial Portfolio" of eighteen prints in various mediums by Daniel R Britton, R. E. (Ron) Gasowski, Arthur W. Hahn, James Hajicek, Jules Heller...

Francisco Zuniga, Mexican (1912–1998) Date: 1984 Lithograph on Somerset, signed, numbered, and dated in pencil Edition of 3/250 Image Size: 11.25 x 10 inches Size: 18.5 x 14.5 in. (46.99 x 36.83 cm) Printer: American Atelier...

José Hernández Muñoz (Spain, 1944) 'Bestiario II', 1986 Etching and aquatint on paper Image size: 7.08 x 4.92 in (18 x 12.5 cm.) Sheet size: 14.96 x 11.22 in. (38 x 28.5 cm.) series ...

Original Toyota Great Teammates Toyota and NFL. Oh, what a feeling! This linen-backed NFL promotional poster was created in 1981 by Toyota. It is in excellent condition, with pinholes in the corners repaired. This is a very difficult original vintage NFL poster to locate and one of the last ones we have been able to document. The poster features a silhouette of a football player composed entirely of football helmets, each adorned with the logo of a different NFL team. This creative design showcases all the teams in the league at the time, making it both a celebration of the sport and a clever piece of advertising. The silhouette of the football player is meticulously crafted using helmets...

Number 84 in an edition of 100 prints. Signed. Robert Gordy was an iconic New Orleans painter. He was part of the "Art and Decoration" movement that also ...

From the "Paintings" Series. Published by Gemini G.E.L., Los Angeles. Hand signed, dated '84 and numbered 43/60 in pencil lower right (there were also 11 artist’s proofs). 11 colors ...

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...

Nancy Spero Thou Shalt Not Kill (The Sixth Commandment), 1987 from the 10 Commandments Portfolio 9 Color lithograph and letterpress on Dieu Donne handmade paper 24 × 18 inches Edition AP 2/15 Signed and numbered AP 2/15, aside from the regular edition of 84 Printed by Peter Kruty, Dan Stack and Judy Solodkin Unframed with deckled edges This nine color lithograph and letterpress on Dieu Donne handmade paper is a signed, dated and numbered Artist's Proof, numbered AP 2/15, aside from the regular edition of 84. It was created as part of the 1987 portfolio "The Ten Commandments", in which ten top Jewish American artists were each invited to choose an Old Testament commandment to interpret in contemporary lithographic form. The "Chosen" artists were, in order of Commandment: Kenny Scharf, Joseph Nechvatal, Gretchen Bender...

Artist: Francisco Zuniga, Mexican (1912 - 1998) Title: La Senal Year: 1982 Medium: Lithograph, signed and numbered in pencil Edition: 135 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm) ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Olga Picasso". The original painting was completed in 1922. In t...

This rare, original offset lithograph poster was produced for Robert Rauschenberg’s Gluts exhibition at Leo Castelli Gallery, New York, held from November 1–22, 1986. Printed on tran...