Lithograph Prints and Multiples

Da una serie di litografie pop di Mimmo Rotella, pubblicate da Plura Edizioni, Italia, risalenti ai primi anni Settanta. Firmato e numerato a matita sul fronte. Edizione 60/80 esempl...

Aretha Franklin poster from a 1968 Eye Magazine issue.

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 ...

From a series of pop lithographs by Mimmo Rotella, published by Plura Edizioni, Italy, dating back to the early 1970s. Signed and numbered in pencil on the front. Edition 60/80 copie...

From a series of pop lithographs by Mimmo Rotella, published by Plura Edizioni, Italy, dating back to the early 1970s. Signed and numbered in pencil on the front. Edition 60/80 copies. Opera Proveniente da collezione privata, Italia. The piece is accompanied by a certificate of provenance issued by the gallery. Le condizioni dell'opera sono per lo più perfette: nessuna traccia del tempo, nessun graffio e margini perfettamente conservati. Il pezzo viaggia senza cornice per avere una spedizione più economica e sicura su richiesta dell'acquirente. Poiché il pezzo viaggia dall'Italia, si prega di considerare che l'espletamento delle pratiche di esportazione richiede un minimo di una settimana dal momento dell'acquisto. Mimmo Rotella, che ha rappresentato l'Italia alla Biennale di Venezia del 1964, è stato sperimentale fino in fondo: nelle sue poesie, nei suoi dipinti, nelle sue fotografie, nei suoi assemblaggi scultorei e nei suoi collage ha abbattuto le convenzioni, lasciando dietro di sé un corpus di opere stravaganti. All'inizio degli anni Cinquanta dipinge astrazioni geometriche, poi si allontana dal suo studio e si rivolge al mondo che lo circonda. Lì trovò i manifesti pubblicitari e cinematografici deteriorati, che strappò dalle pareti, attaccò alle tele e strappò ulteriormente per sviluppare composizioni semi-astratte dalle immagini dei mass media, che chiamò "doppi décollages". Grazie ai suoi collage, è stato associato a Raymond Hains, Jacques Villeglé e François...

Mel Ramos (born 1935) Reese's Rose, 2008 Medium: Lithograph in colors Dimensions: 93.5 x 55 cm Edition of 199: Hand-signed and numbered Condition: Mint

Artist: Peter Max (1937) Title: Protect Our Children Ver. II Year: 2002 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 13.81 x 17.12 inches Condition: Excel...

Erró (born 1932 in Iceland) Les grands enfants de Mao (The Grandchildren of Mao), 2007 Medium: Lithograph in colors Dimensions: 55 x 55 cm Edition of 125: Hans signed and numbered Co...

Peter SAUL Barcelona Olympic Games : the Athletes, 1992 Original Lithograph Handsigned in pencil Numbered /250 On vellum 63 x 90 cm (c. 25 x 36 in)...

Erró (born 1932 in Iceland) Hommage à Picasso, 2005 Medium: Lithograph on paper Dimensions: 46 x 61 cm Edition of 120: Hand-signed and numbered Condition: Excellent

Alex Katz in Maine, 2005 Hardback monograph (hand signed and dated by Alex Katz) Boldly signed and dated 6.9.10 by Alex Katz on the first front end page 9 3/4 × 11 1/2 × 3/4 inches T...

Roy Lichtenstein Girl With Spraycan (Deluxe hand signed edition of the 1 Cent Life Portfolio, from the estate of artist Robert Indiana), 1964 Limited E...

Paper Size: 35 x 25 inches ( 88.9 x 63.5 cm ) Image Size: 35 x 25 inches ( 88.9 x 63.5 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: Exh...

Ed Ruscha Chicago International Art Exposition (Hand Signed by Ed Ruscha), 1983 Offset Lithograph. Pencil Signed and dated. Unframed. Signed and dated by Ed Ruscha in graphite pencil...

Artist: Mel Ramos Title: Tiger Girl Portfolio: 1¢ Life Medium: Lithograph Year: 1964 Edition: 2000 Image Size: 16.25 in x 11.75 in Sold Unframed

Saul Steinberg (untitled) Chrysler Building Lithograph from Derrière le miroir: Lithograph in colors c.1970. 11 x 15 inches Very good overall vintage condition. Unsigned from an ed...

Artist: Peter Max (1937) Title: Protect Our Future Ver. II Year: 2002 Edition: 500/500, plus proofs Medium: Lithograph on archival paper Size: 13.81 x 17.12 inches Condition: Excelle...

Ed Ruscha Reading Ed Ruscha (Hand Signed by Ed Ruscha), 2012 Offset Lithograph Poster Boldly signed in black marker by Ed Ruscha on the lower front, edition of approx. 50 (unnumbered...

David Hockney Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981 Offset Lithograph. Hand signed by David Hockney...

The Original Keith Haring 1987 "Safe Sex" Pop Art Poster is a rare and valuable piece promoting the importance of safe sex and AIDS prevention. Conserv...

Christo and Jeanne-Claude: Wrapped Reichstag, Berlin, 1971-1995, 1996 Hardback monograph with slipcase (hand signed and numbered - Hors Commerce edition, reserved for artists and contributors) Signed by Christo, Jeanne-Claude and photographer Wolfgang Volz and numbered numbered HC-694/HC-700 on the colophon. Also has an encased piece of the actual Reichstag wrapping! fabric! 12 × 12 × 1 1/2 inches Makes a memorable gift! It's hand signed and numbered - with a piece of the actual Reichstag wrapping fabric laid in. Signed by Christo, Jeanne-Claude and Wolfgang Volz and numbered numbered HC-694 on the colophon page (an Hors Commerce [not for sale] edition reserved for artists and collaborators) Original textured silver cloth with blue lettering on spine, housed in matching photo-illustrated slipcase, black lettering on spine. Contains an example of the original aluminum mesh used to wrap the Reichstag, framed in white cardboard (9 x 9") at inside back cover. Documentation of one of the startling and most stunning public art projects, representing the essence of conceptual art on a scale unmatched in the 20th century, one might say. 100 rock climbers abseiling down the facade of the Reichstag, without cranes or machinery being used in the project. This publication provides vivid documentation and a perspective of the extent of the project by the Bulgarian artist. His personal view, as expressed in The Guardian: "Artist - and above all architects - seek permanence," he said. "I don't. I like leaving nothing. That takes courage." His projects were funded mainly by selling preparatory drawings, always refusing sponsorship. Christo forbade the Three Tenors...

Milton Glaser Mozart poster 1983: Vintage original 1983 Milton Glaser poster designed by Glaser on the occasion of Lincoln Center, Mostly Mozart Festival. A timeless, highly decorative Milton Glaser poster capturing Mozart in unique personalized movement, rendered with brilliant pastel colors. Offset lithograph poster in colors. 36 x 24 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. Printed signature from an edition of unknown. Literature: Milton Glaser Posters, Glaser. 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 and Chinese drawings. As a co-founder of New York magazine, Glaser designed...

Ladies and Gentlemen Exhibition Poster (Portrait of Wilhelmina Ross) (1989) Andy Warhol Vintage 1989 Pop Art Lithograph Print Framed Paris Exhibiti...

Chuck Close Uniquely Signed, dedicated and inscribed vintage card, 1988 Thick card Boldly signed, dated, dedicated and inscribed in black ink on the front...

Milton Glaser Saratoga Festival Poster 1980: For this annual summer arts festival held in Saratoga New York, Milton Glaser places a Pan...

Mel Ramos (born 1935) Caramia Caramello, 2008 Medium: Lithograph in colors Dimensions: 94.5 x 58 cm Edition of 199: Hand-signed and numbered Condition: Excellent “Mr. Ramos (…) bega...

Tracey Emin Angel Without You monograph (Hand signed by Tracey Emin), 2013 Hardback monograph with illustrated boards (hand signed by Tracey Emin) Boldly signed in blue ink by Tracey...

Artist: Peter Max (1937) Title: Love I Year: 2001 Edition: 453/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 6 x 5 inches Condition: Excellent Inscription: Signed ...

Yoshitomo Nara Banging the Drum, Marching on a Butterbur Leaf, Real One: A set of 3 offset lithographs published by Dallas Contemporary...

Roy Lichtenstein Historic 1960s exhibition invitation for Galleria Apollinaire, 1965 Offset lithograph poster Frame included This poster/invitation was published for Lichtenstein exh...

Ed Ruscha EE-NUF!, 2020 Offset lithograph Hand signed and numbered 31/50 in pencil by Ed Ruscha on the front; accompanied by documentation issued by Gagosian Gallery 23 1/2 × 18 inch...

Keith Haring lithograph 1982: Double-sided lithographic insert from the seminal, spiral bound 1982 Keith Haring Tony Shafrazi gallery exhibition catalog published on the occasion of Haring’s first gallery-based solo exhibition. From a limited edition of 2000. Offset lithograph; 9 x 9 inches. Condition: very good overall vintage condition with only some minor signs of aging. Published by Tony Shafrazi gallery New York, 1982. Unsigned from an edition of 2000. Well suited for matting and framing. Keith Haring (American, 1958–1990), a Neo-Pop and Graffiti artist, had a short but prolific career centered on a vision to unite “high art,” urban aesthetics, and public spaces using humorous, irreverent, and poignant works. Born in Pennsylvania, Haring attended the Ivy School of Art in Pittsburgh for two years, planning to become a commercial artist. He found this path unsatisfying, and instead chose to study at the School of Visual Arts in New York, where he met fellow artists Jean Michel Basquiat and Kenny Scharf. Haring immersed himself in the culture of the city’s streets and clubs, and, in 1980, began covering the blank billboards on subway station walls with his Subway drawings in chalk. Haring’s bold public art attracted the attention of several galleries, and, by the early 1980s, he was painting Neo-Pop works and large murals full time. In an effort to make his art widely accessible, Haring opened the Pop Shop in 1986 in downtown New York, selling commercial items adorned with his signature, cartoonish imagery. Haring combined graffiti, hip-hop, and urban aesthetics, frequently depicting animals, figures, commercial icons, sexual imagery, and childlike motifs in pieces that were both playful and concerned with social issues. His work became increasingly confrontational following his 1987 diagnosis of AIDS. Haring resolved to work harder than ever in his remaining years, creating pieces with a fervent speed and devoting his art to social action in addition to his personal expression. In 1989, he established the Keith Haring Foundation, whose goal is to promote art programs and public spaces for children, and to raise awareness about AIDS Related Categories Keith Haring Dolphins. Keith Haring prints. Vintage Keith Haring. Keith Haring Tony Shafrazi New York. Street Art. Keith haring animals...

Artist: Keith Haring (American, 1958-1990) Title: "National Coming Out Day" *Signed and dated by Haring in the plate (printed signature) lower right Year: 1988 Medium: Original Offse...

Damien Hirst Cornucopia, 2010 Limited edition hardback monograph (hand signed by Damien Hirst) Hand signed in ink by Damien Hirst on the first front end page 12 1/2 × 9 3/4 × 3/4 inches This limited edition illustrated hardback monograph, with no dust jacket, exactly as issued, was published on the occasion of the artist's show at Musee Oceanographique de Monaco in April 2010, 'Cornucopia' celebrates Hirst's paintings and sculptures from 1994-2009." This book was gifted by Damien Hirst to a member of an American Rock & Roll band that Hirst befriended. Stated Limited Edition of 2000 (unnumbered) About the book: Publisher: Musée Océanographique de Monaco, 2010 Text: English / French. 160 pgs with color illustrations Limited Edition: 2000 (the regular edition is not signed; this was exceptionally hand signed by Hirst) About Damien Hirst: People are afraid of change, so you create a kind of belief for them through repetition. It’s like breathing. I’ve always been drawn to series and pairs. A unique thing is quite a frightening object. —Damien Hirst Since emerging onto the international art scene in the late 1980s, Damien Hirst has created installations, sculptures, paintings, and drawings that examine the complex relationships between art and beauty, religion and science, and life and death. From serialized paintings of multicolored spots to animal specimens...

Keith Haring Fun Gallery 1983: Original 1983 Keith Haring illustrated exhibition poster published on the occasion of Haring's historic 1983 show at the Fun Gallery in the East Village. A classic array of early Haring imagery that reveals red and black interlocking figures. A rare example in very good overall vintage condition. Offset lithograph in colors on smooth wove paper. 23 x 29 inches. Only some minor signs of handling; in otherwise very good overall vintage condition with strong colors; one of the better examples we've come across. Stored away from light; never mounted or framed. Unsigned from an edition of unknown; scarce. Catalog Raisonne: Keith Haring: Posters (Prestel Publishing). References: Included in the collection of the Cooper Hewitt, Smithsonian Design Museum. About the Fun Gallery: Historic, short-lived, East Village gallery known for giving Keith Haring, Basquiat & Kenny Scharf some of their first solo shows. “FUN Gallery was a place where neighborhood kids, downtown artists, b-boys, rock, film, and rap stars mixed with museum directors art historians and uptown collectors at wild openings featuring artists like Futura, Fab 5...

A very good impression of this color lithograph. Signed and numbered 125/175 in pencil, lower margin.

Yayoi Kusama Lemon Squash from the Specially Bound Edition, Edition 73/150. Lithograph [2 plates, 2 colors, 2 runs]. Numbered, titled in Japanese, dated and hand signed by the artis...

The Free South Africa series deftly addresses the nature of South Africa's apartheid regime in Haring's unique and succinct visual language. Signed, dated, and numbered lower right e...

MEL RAMOS Señorita Rio, from the Deluxe signed edition of 1 Cent Life (Artists & Collaborators), 1963 Color lithograph on wove paper Hand signed and dated on the lower right front; print numbered on the colophon page a copy of which is affixed to the back of the frame (see photo) Edition 85/100 Published by E.W. Kornfeld, Germany, Written by Walasse Ting, Edited by Sam Francis Framed: Elegantly floated and framed in a museum quality wood frame with UV plexiglass Provenance: Acquired from original, complete 1 Cent Life Portfolio, # 85/100 (Artists & Collaborators) from the Estate and Collection of Robert Indiana This original lithograph, splayed across two pages, is from the Deluxe edition of the legendary 1 Cent Life Portfolio, one of the most documented and celebrated artistic collaborations of the 1960s. Chinese American artist and writer Walasse Ting, in collaboration with Sam Francis, assembled a group of the most significant Pop and Abstract Expressionist artists in America, including Pop Artist Mel Ramos, along with the European COBRA artist to create the definitive artistic portfolio, with text by Walasse Ting. The Deluxe edition, which features hand signed prints was published in a limited edition of only 100. This is one of them. Of the 100, editions numbered 60-100, or 40 portfolios, were reserved exclusively for Artists & Collaborators. This hand signed Mel Ramos lithograph is from the portfolio numbered 85 (Artists & Collaborators), which was acquired from the Estate and Collection of Robert Indiana, one of the artists who contribute to the 1 Cent Life portfolio. The racy text to the right of the print -- an anti-Corporate American screed, was written by Walasse Ting. It is elegantly floated and framed in. amuseum frame with UV plexiglass. Signed examples of this portfolio with such superb provenance rarely appear on the marketplace. This is a true collectors item, from the most desirable and influential era in Pop Art history. Mel Ramos became famous for his ironic portraits of pin ups and how they are used in American advertising. (see detailed biography below). The poem called America to the right of the lithograph, entitled "America" was written by Chinese born artist Walasse Ting, and matches the image perfectly, as it's also a commentary on American commercial culture. The poem begins: Brain made by IBM & FBI stomach supported by A & P and Horn & Hardart love supported by Time & Life tongue supported by American Telephone & Telegraph soul made by 7up skin start with Max Factor heart red as U.S. Steel Measurements: Framed 19 inches vertical by 26 inches by 2 inches Lithograph 16 inches vertical by 22.5 inches More about the Signed (Deluxe) Edition of 1 Cent Life portfolio In 1962, the Chinese-American artist Walasse Ting shared his dream project with painter Sam Francis: to create an anthology of his poetry illustrated by leading artists of their time. Over the next two years, Ting and Francis recruited leading Abstract Expressionists and Pop artists—Andy Warhol, Joan Mitchell, Robert Rauschenberg...

Since the 1950s, Jim Dine’s expansive multimedia practice has spanned painting, drawing, printmaking, sculpture, photography, poetry, and performance. Dine was a pioneering member of the Happenings movement alongside artists such as Claes Oldenburg and Allan Kaprow...

Roy Lichtenstein Mermaid Original lithograph on Arches paper from the estate of one of the original donors to the sculpture. 8 Color litho on pap...

DONALD BAECHLER Birds, 1995 Lithograph on wove paper 11 63/100 × 7 47/50 inches Hand signed, dated and numbered 9/20 on the front; bears the publishers' distinctive blind stamp lower...

Signed Keith Haring poster 1985: A highly collectible hand-signed 1985 Keith Haring exhibition poster published on the occasion of: Keith Haring Painting...

Hand signed and numbered edition of 25. 16 x 36" sheet size without frame. “Workshop” is an ambitious color lithograph and linocut with chine collé printed in twelve colors from nine plates and one linocut. It has been printed in an edition of 25, plus proofs, on white Rives BFK paper 16 x 36” with chine collé of various papers. (No, it’s not upside down) Born 1964 in New York where he still currently resides and works alongside his partner the ceramist Kathy Butterly. Son of the photographer Rudy Burckhardt and painter Yvonne Jacquette, Tom Burckhardt was 1986, BFA, State University of New York, Purchase, NY 1992–1993, Skowhegan School of Painting and Sculpture, ME 1996, Marie Walsh Sharpe Art Foundation Studio Grant 1997, New York Foundation for the Arts, Painting Grant 1997 Pollock-Krasner Foundation Grant 2002 George Hitchcock Award, National Academy of Arts 2003, Richard & Hinda Rosenthal Foundation Award, American Academy 2005, AICA Best Show of an Emerging or Underknown Artist 2005 Pollock-Krasner Foundation Grant 2006 Best Installation, Best of Houston, the Houston Press 2009 Guggenheim Foundation Grant 2010, New York Foundation for the Arts Drawing/Print Grant 2010 Joan Mitchell Foundation Grant Tom Burckhardt’s work is a carnival of images jumbled and jostling each other in precarious nonsensical compositions. He uses lushly colored and patterned images from all kinds of sources that bounce between abstraction and representation. Images come from tool catalogs, paper and fabric patterns, funhouse painting, architectural details, stripes, dots and squiggles. It is as if Burckhardt is a cartoonist merrily channeling Ellsworth Kelly, Paul Feeley, Robert Therrien, and Myron Stout, among others. Like Red Grooms, for whom he worked as an assistant, Burckhardt ransacks his influences yet ends up with something unmistakably his own. His work bears the influence of is a synthesis of many things: the tribal-influenced abstract painting of Steve Wheeler...

Billy Al Bengston Turkey Dracula, 1973 Color lithograph with hand coloring and watercolor (unique variant) on Lanaquaralle paper with deckled edges Hand signed and numbered A.P. #6, aside from the regular edition of 24 on the front, with the printer's blind stamp Frame Included: held in original vintage frame Mixed media Lithograph with hand coloring in watercolor (unique variant) Hand signed and numbered A.P. #6 (of 10), aside from the regular edition of 24 on the front, with the printer's blind stamp (Flower) Publisher: Published by Brooke Alexander, Inc. (New York) Printer: Printed by Ed Hamilton (American, born 1941) at Cirrus Editions, Los Angeles (with blind stamp) Measurements: Frame: 25.25 x 25.25 inches Print: 23 x 23 inches About Billy Al Bengston: Billy Al Bengston (b. 1934, Dodge City, Kansas, d. 2022, Venice Beach) moved to Los Angeles with his family in 1948. He studied painting under Richard Diebenkorn at California College of Arts, Oakland, California. In 1957, Bengston began showing with the legendary Ferus Gallery (founded and run by Walter Hopps...

Artist: Claes Oldenburg Title: Parade of Women Series: One Cent Life Year: 1964 Medium: Lithograph Initialled in Plate, lower right Dimensions: 16.25 x 23" Provenance: Private Collec...

Keith Haring Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s Keith Haring announcement published on the occasion of: Keith Haring at Tony Shafrazi Gallery,...

Controversial L.A. “street artist”, Mr. Brainwash takes to the New York City art scene with the opening of his “Icons” show in the meat packing district on Sunday February 14th. First brought to the public eye when LA Weekly profiled the artist in a cover story, Mr. Brainwash continues to be a much-discussed figure as the star of infamous street artist Banksy’s documentary “Exit Through the Gift Shop”, which premiered last month at the Sundance Film Festival. Thierry Guetta or “Mr. Brainwash” jam packed his massive art Icons show into two floors of a 15,000 square foot space. The show features portraits of pop culture icons; Madonna, Obama, Michael Jackson, James Brown and the Beatles, among many others, all interpreted through old broken records placed on canvas and silk screens with touches of spray paint. Wether you love him or you hate him, Art Icons is sure to be one of the largest and most lavishly funded art shows of the decade. Mr. Brainwash: Icons is ran from March 31 at 415 West 13th Street between Ninth Avenue and Washington Street in the Meatpacking District...

Major Pop artist James Rosenquist used sign-painting techniques to make kaleidoscopic canvases that conjure American advertising. He embraced the visual language of commercial art, f...

"Paint Cans" is a lithograph in colors on wove paper made in 1990 by Wayne Thiebaud. The work is number 13 from an edition of 100. The work is signed in pencil, lower right, "Thiebau...

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

This iconic original lithograph by Robert Indiana is a true classic. It is in perfect condition and framed with glass

DEREK BOSHIER "Culture Carriers Stamp Out Art", (Hand Signed), from the Collection of Art Critic Anthony Haden-Guest, 1971 Lithograph mounted on franked envelope of wove paper (Hand Signed) 6 × 9 in 15.2 × 22.9 cm Limited Edition of 250; hand signed and numbered 24/250 Signed in ink lower left of the lithographic stamp affixed to the envelope, and hand numbered 24/250. From the series The Post Office Worker's Strike Commemoration Stamps Unframed The artwork consists not just of the signed, limited edition Boshier postage "stamp", but also the franked envelope, which it is affixed to, with the stamps as described above. The entire mixed media piece is far more desirable than the stamp alone. As a consequence of the prolonged strike by the Royal Mail postal workers in the United Kingdom, Derek Boshier along with a group of British artists including Allen Jones, David Hockney, Christopher Logue, Eduardo Paolozzi and Richard Hamilton, published ''Culture Carriers Stamp Out Art''to raise funds for the striking workers. The "stamps" were published in a limited edition of only 250, with Derek Boshier signing each by hand in black ink with his initials on the lower left. This particular stamp is also numbered 24/250. The stamp itself measures 3.25 by 2.75 inches, and it is affixed to a franked (postmarked) envelope which measures 6 inches by 9 inches, bearing the stamped text "Culture Carriers 23 Feb 1971" on the top left, and the stamp "CULTURE CARRIERS STAMP OUT ART" on the lower left (front). and the stamp "STRIKE ISSUE" lower right front of the envelope. Very desirable as an ensemble. these were known as The Post Office Worker's Strike Commemoration Stamps. This particular piece has superb and interesting provenance, as it came from the private collection of the American art critic Anthony Haden-Guest. As additional provenance, we will furnish the buyer with a xerox copy of the receipt from Flair Magazine...

Keith Haring Eight Ball 1989: This extremely rare 4 page printed/faxed document was created by Haring in 1988/1989, as a set of instructions to his publisher on “Eight Ball - Haring’...

Bird Michael Knigin, American (1942–2011) Date: 1971 Screenprint, signed and numbered in pencil Edition of 9/100 Image: 28.5 x 17 inches Size: 30.5 x 23 inches

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

James Rizzi New Technology Color lithograph Year: 2002 Titled and dated in the print Publisher: John Szoke Editions, New York Size: 2.0 × 3.0 on 4.6 × 5.7 ...

Jasper Johns Jasper Johns Drawings (Hand signed and inscribed to Michael Crichton's brother), 1980-1981 Color offset Lithograph poster for Margo Leavin Gallery exhibition Signed, dated and dedicated in ink by Jasper Johns on the front Vintage metal frame included Jasper Johns’s first truly abstract artworks are his “Crosshatch” paintings and prints, which he developed from 1972 to 1983. These compositions feature hatched lines in various colors, though the term “Crosshatch” is a bit of a misnomer—Johns’s lines...