1980s Figurative Prints

An aquatint etching out of 1988 in a very good condition and bright colours. 57 x 66 cm. Edition of 90, signed and numbered.

Artist: Froylan Ojeda, Mexican (1932 - 1991) Title: Woman with Birds and Butterflies Year: circa 1980 Medium: Silkscreen, signed and numbered in pen...

Artist: Enrico Baj, Italian (1924 - 2003) Title: Meeting from the Furniture Series Year: 1988 Medium: Silkscreen on Flocked Paper, signed in pencil Edition: EA Image Size: 22 x 31 in...

1983 Woodcut in colors, on Tosa Koza paper S. 20 3/8 x 22 3/8 in. (51.8 x 56.8 cm) Edition of 200 Signed, dated and numbered in pencil, lower margin

TECHNICAL INFORMATION Tom Wesselmann Rosemary Lying on One Elbow 1989 Laser-cut steel with alkyd oil 9 x 14 in. Edition of 45 Signed, titled, dated and numbered on verso Accompanie...

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...

Sheet size: 47 5/8 x 36 inches Frame size: 49 1/4 x 37 3/4 inches Printer and Publisher: Gemini G.E.L., Los Angeles Edition size: 45, plus proofs Catalogue Raisonné: ULAE 212 Signed...

Artist: Mimmo Paladino, Italian (1948 - ) Title: Muto Year: 1984 Medium: Etching and aquatint in colors with mink fur collage, signed and numbered in pencil Edition: 17/35 Size: 60.5...

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...

Aquatint etching on paper (Edition of 75) Signed and numbered in pencil, l.r. This artwork is offered by ClampArt, located in New York City. Born in Naples, Italy, Francesco Clemen...

From the "Paintings" Series. Lithograph and woodcut in colors. Published by Gemini G.E.L., Los Angeles. Hand signed, dated '84 and numbered in pencil lower right. 14 colors in 11 run...

René GRUAU Moulin Rouge : Femmes, femmes, femmes Original lithograph Printed signature in the plate On paper 60 x 40 cm (c. 24 x 16 inch) Information : Original exhibition poster f...

Signed and numbered in pencil

Vintage chromogenic print (negative sandwich) retouched with ink (Edition of 12) Estate stamp in black ink, verso Also numbered in black ink, l.r. 16 x 20 inches, sheet 12.75 x 19.5...

Akio Takamori "Secret State Goddess" Monoprint, woodcut, gold paint Year: 1989 Signed by artist & dated "7/1989" *created at the Anderson Ranch Art Center Size: 39 x 21.5" Akio Taka...

Artist: Kiki Kogelnik, Austrian (1935 - 1997) Title: Triangle Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 35 Image: 32.5 x 24 inches Size: 36 x 26 in...

Etching with aquatint on Rives B.F.K. paper Work: 26.25 x 19.5 in (66.68 x 49.53 cm) Edition of 35 Signed Provenance- The Nevica Project impeccably framed (frame value $800)

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

serigraph on paper, image of a couple kissing.

Romare Bearden (1911-1988), Jamming at the Savoy, 1980-81, colored etching and aquatint. Reference: Gelburd and Rosenberg (2, p. 9); GG #95 (p. 29). Signed, ...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The use of clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Coffee Break...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Hot Dog...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "The Football Players...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in...

As art historian and writer Suzanne Ramljak wrote "the ambivalent relationship between humanity and machinery has informed Aptekar's art from the start and remains a central theme in his work. Like many of the issues Aptekar addresses, technology is not without contradiction." The shocking imagery of juxtaposed human and natural forms with mechanical elements, using clear contours and colors, is certainly not oblivious of Fernand Leger latest work and what he called "the law of contrast". At the same time, the political and social commentary that are a constant inherent component of Aptekar's work has it's roots in the work of Mexican muralist Diego Rivera, who Apterkar met at age of 11. The outcome is an imagery of an extraordinary visual impact and absolutely unique to Aptekar's own creative process. This work "Moving Woman" has been conceived while Aptekar was working on a monumental piece of 23 x 45 x 17 feet titled "The Defeat of the City of Plutonium: A Holocaust Prevented". The strong image of a human female naked body depicted as being one of the building parts...

Figura en Rojo is a 1989 color mixograph print by Rufino Tamayo. Figura en Rojo is from an edition of 100 plus artist and printers proofs. Figura en Rojo is signed by Tamayo.

Presenting a wonderful vintage print by American artist Hans Burkhardt. "Man and the Universe", is an original vintage print, signed, dated 1989, with an image dimension of 11.75 ...