Saul Steinberg

Saul Steinberg lithograph 1970s (Saul Steinberg prints)

c.1970

Saul Steinberg Derrière le Miroir: A lithographic cover published c. 1970. Well suited for framing. A fantastic vintage Saul Steinberg collectible within reach. Lithograph in color...

1980s Milton Glaser Poster Art: Milton Glaser Brooklyn Center for the Performing Arts at Brooklyn College: Vintage original Milton Glaser poster c.1984. Designed by Milton Glaser on the occasion of the 30th anniversary of the Brooklyn Center for the Performing Arts at Brooklyn College. In this piece Glaser creates music and dance incarnate: A colorful figure appears headless, its torso formed...

Milton Glaser Sony Tape, Full Color Sound poster 1980: Vintage original 1980s Milton Glaser poster designed by Glaser for the world-recognized brand Sony. A classic Milton Glaser advertising design featuring the profile of a 19th-century music listener silhouetted against music liner paper. Offset lithographic poster in colors. 30 x 45 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. Vintage original print. Milton Glaser printed signature upper left; from an edition of unknown. Literature: Milton Glaser Posters, Glaser, pg. 251. Legendary graphic designer, illustrator, and art director Milton Glaser created some of the most recognizable iconography in America today —including the iconic I ♥ N Y logo —and countless posters and ad campaigns. Glaser changed the face of commercial art in the 1960s and ’70s, breaking with the conventions of modernism and drawing inspiration from a wide variety of art-historical and pop-cultural sources, from Art Nouveau to comic illustration...

Vintage original 1970s Alexander Calder Lithograph: 11x15 inches. Very good overall vintage condition. Unsigned from an edition of unknown. Published by: Galerie Maeght, Paris, 19...

This is a truly historic limited edition hand signed museum print from the 1960s - of the first North American building the legendary artists Christo ever wrapped: Christo Wrap In Wr...

Black Tie, 1977 James Rosenquist, American, 1933–2017. Printed by Maurice Sanchez at Derrière L'Étoile Studios, Inc. Published by Sidney Singer Color lithograph on rolled white Arches Cover paper Blindstamp of a man in a hat, bottom right Hand signed in pencil. Dated 1977 lower right. Titled and numbered 76/100 lower left. Measures 73 1/2" x 37 James Rosenquist (November 29, 1933 – March 31, 2017) was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects. While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol, JIm Dine and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads. He was a 2001 inductee into the Florida Artists Hall of Fame. Rosenquist was born on November 29, 1933, in Grand Forks, North Dakota, the only child of Louis and Ruth Rosenquist. His parents were amateur pilots of Swedish descent who moved from town to town to look for work, finally settling in Minneapolis, Minnesota. His mother, who was also a painter, encouraged her son to have an artistic interest. In junior high school, Rosenquist won a short-term scholarship to study at the Minneapolis School of Art and subsequently studied painting at the University of Minnesota from 1952 to 1954. In 1955, at the age of 21, he moved to New York City on scholarship to study at the Art Students League, studying under painters such as Edwin Dickinson and George Grosz. Talking about his experience at the Art Students League, Rosenquist said "I studied only with the abstract artists. They had commercial artists there teaching commercial work, I didn't bother with that. I was only interested in -- see, here's how it started. I was interested in learning how to paint the Sistine Chapel. It sounds ambitious, but I wanted to go to mural school". While studying in New York, Rosenquist took up a job as a chauffeur, before deciding to join the International...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

Views of Hotel Well I, from Moving Focus series (T. 280; DH. 67). Lithograph printed in colors on TGL handmade paper. Hand signed, dated and numbered by the artist. original Artist's...