Hammond- 'Roland Garros French Open' 2003- Vintage

2003

This limited edition color lithograph poster was created for the 1981 production of Shakespeare’s Twelfth Night, directed by David Mamet, a close associate of Donald Sultan. Printed ...

Andy Hickes’ depiction of the Empire State Building captures the iconic skyscraper in a modern, stylized manner. Known for his vibrant and graphic approach, Hickes emphasizes bold li...

This powerful poster by Romare Bearden was created to commemorate the 30th anniversary of the landmark Supreme Court decision that officially ended segregation in public education in...

This first-edition exhibition poster was created for Joseph Kosuth’s solo show at Leo Castelli Gallery, held from May 17 to June 14, 1986. Kosuth, a leading figure in conceptual art, is known for challenging traditional notions of representation, meaning, and authorship in art. His work often employs language, definitions, and philosophical inquiry to explore the relationship between objects, words, and ideas. Kosuth was a frequent exhibitor at Castelli Gallery in the late 1980s, a period when he was refining his investigations into semiotics, linguistics, and the nature of art itself. His exhibitions often featured text-based works, neon installations, and philosophical references, reinforcing his belief that art exists as an idea rather than a physical object. The meaning of this exhibition—and by extension, the poster—likely aligns with Kosuth’s broader practice: art as intellectual engagement, where the work is not about aesthetics but about questioning how meaning is constructed. The exhibition poster serves as both an artifact and an extension of Kosuth’s conceptual framework, making it a historically significant piece for collectors interested in conceptual art and the role of Castelli Gallery in shaping contemporary discourse. Paper Size: 16 x 36...

Larry Clark The Smell of Us, 2015 Limited Edition softcover book printed on heavy paper stock in oblong binding (Edition: 250) 5 1/2 × 8 inches This first edition book by Larry Clark...

This is an original Murakami limited edition offset print, signed and numbered. This beautiful print has a silver sheen (contrasting texture from the flower prints) interspersed amid...

From Valentina to O "Valentina" to "O" is an vintage offset realized in 1976 by Guido Crepax. Not signed. This artwork was realized in the occasion of ...

Rare collectors' item: Anish Kapoor Venice Biennale: XLIV Esposizione Internazionale D'arte Biennale Di Venezia (Hand signed and inscribed by Anish Kapoor), 1990 HISTORIC signed poster published on the occasion of Kapoor representing Great Britain at the Venice Biennale Offset lithograph poster (Hand signed, inscribed to Nadine and dated 2016) Boldly signed, inscribed and dated by Anish Kapoor on the lower right front 33 × 23 inches Unframed Boldly signed and inscribed by Anish Kapoor on the lower right front for the present owner, Nadine, so provenance is direct. Accompanied by gallery issued Certificate of Guarantee This offset lithograph poster was published on the occasion of Anish Kapoor's exhibition "XLIV Esposizione Internazionale D'Arte" at the Biennale Di Venezia from May 27 to September 30, 1990. Hand signed posters by Kapoor are quite elusive. The poster is two sided as it was published on the occasion of the artist's participation in the 1990 Venice Biennale (the verso has his lengthy biography), and it bears the original folds as issued. British-Indian sculptor Anish Kapoor was chosen to represent Britain at the first Biennale of the 1990s. He had been exhibiting since 1980 but it was this show that brought him widespread recognition on the international stage. Sixteen huge sandstone blocks dominated the Pavilion’s main room; they were so heavy that the floor had to be reinforced with supports. Kapoor had started working in stone in the late 1980s and each block in Void Field (1989) has a hole filled with another motif in his work, the powdered blue pigment used in Indian religious ceremonies. The same vibrant tones, which was also inspired also by Yves Klein’s statement bold blue colour, were used in his low-lying slate sculpture, A Wing at the Heart of Things (1990), in the back gallery of the Pavilion; this work is now part of Tate’s collection. “Venice is an interchange of East and West, reflecting the way Kapoor borrows from both cultures” said Henry Meyric Hughes, British Council. Kapoor’s exhibition also wove together references to spiritualism and eroticism, with the red slit in the Pavilion's wall, entitled The Healing of St. Thomas (1989), alluding to the saint that doubted Jesus’ resurrection...