Offset Prints and Multiples

Abstract Composition is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. The state of preservation of the artwo...

Keith Haring, Andy Warhol 1986: Rare, highly sought-after oversized 1986 folding announcement card / poster illustrated by Keith Haring & Andy Warhol ...

Stiff Effect is a vintage offset print after Antoni Tàpies, printed on handmade paper and part of a deluxe edition of reproductions published in 1982 and limited to 2.000 specimens. ...

The print is Diasec® framed. This mean the print is mounted between acrylic glass (UV-resistant) and a dibond (aluminum) backside, with an attached frame for easy hanging. Depth of t...

Image dimensions: 20.6 x 31 cm. Composition is a superb original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly reproduc...

Jim Dine Limited Edition Williams College Museum print, 1976 Offset lithograph poster on off white wove lithographic paper Limited edition of 300 Published by Pace Editions, with co...

Jim Dine 8 Hearts / Look, Off-set Lithograph with metallic paper collage overlay Galerie Thomas exhibition print, 1970 Color lithograph and offset lithograph on wove paper Plate sign...

Ed Ruscha Psycho Spaghetti Westerns (Hand signed by Ed Ruscha), 2011 Offset lithograph card (hand signed by Ed Ruscha) Offset lithograph card Boldly signed in black marker by Ed Rusc...

Jim Dine Galerie Maeght exhibition print, 1983 Lithograph and offset lithograph Signed in plate 31 1/4 × 21 inches Limited Edition of 500 Unframed This colorful print was made for th...

Cricket palace is a vintage offset print realized after Renato Guttuso. The picture is in very good conditions, no signature. Renato Guttuso, born Aldo Renato Guttuso (26 December ...

Marina Abramović A Visual Biography (Hand signed by BOTH Marina Abramovic and Katya Tylevich), 2023 Large (huge!) hardback monograph with no dust jacket as issued Hand signed by BOT...

Lucio Del Pezzo - Poster Exhibition is a mixed colored offset print realized in 1984 This print was realized on the occasion of the exhibition dedicated to the artist and held in St...

Minkus-Don Kishote - is a vintage poster print in offset by Z.Celinsky. Dimention: 98 x 66 The artwork represents the manifesto for the opera of Don Kishote. Good conditions excep...

WITH THE COMING OF SPRING, THE GRASS RETURNS NATURALLY Date of creation: 2013 Medium: Offset lithograph with silver on paper Edition: 300 Size: 50 x 50 cm Condition: In mint conditio...

Henryk VI na Lowach vintage poster is an offset print on paper realized by Polish Artist in 1974. Original colored offset. Good condition and aged. Print: Polish Artist The artw...

This is an above the edition impression of an original lithograph by Marc Chagall, created in 1962 and printed in 1963 by Mourlot for Chagall Lithographe II, published by André Saure...

Four Reddish Arches a vintage offset print after Antoni Tàpies, printed on handmade paper and part of a deluxe edition of reproductions published in 1982 and limited to 2.000 specime...

Angle is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, reproducing...

This is a collage of Le Corbusier’s Realisations and Projects, showcasing his iconic architectural works and innovative designs. Le Corbusier, one of the most influential architects ...

Division by Diagonal is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specim...

Roman Cieślewicz (born 1930 13 January in Lwów Poland now Lviv Ukraine - died 1996 21 January in Paris, France) was a Polish (naturalized French) graphic artist and photographer. From 1943 to 1946 he attended the School of Artistic Industry in Lvov and from 1947 to 1949 attended the Krakow's Fine Arts Lycee. He studied at Kraków Academy of Fine Arts from 1949 to 1955. He was artistic editor of "Ty i Ja" monthly (Warsaw) 1959-1962. In 1963 he moved to France and naturalized in 1971. He worked as art director of Vogue, Elle (1965-1969) and Mafia - advertising agency (1969-1972) and was artistic creator of Opus International (1967-1969), Kitsch (1970-1971) and Cnac-archives (1971-1974). Taught at the Ecole Supérieure d'Arts Graphiques (ESAG) in Paris. In 1976 he produced his "review of panic information" - "Kamikaze"/No. 1/ published by Christian Bourgois. Folon. In 1991 he produced "Kamikaze 2" with Agnes B. He took part in numerous group exhibitions of graphic, poster and photographic art and was a member of AGI (Alliance Graphique Internationale). He designed a famous 1960s Polish Cyrk Circus Dog Poster as well as a Pop art superman cover for Opus magazine and a Charlie Chaplin poster...

Experimental theater advertising is an original print of an advertisement for Italian Theatre "Casa D'Arte Bragaglia" in Rome. Good conditions. With description on the rear and two...

Jack Vettriano OBE, (1951-2025) was a self taught Scottish artist most famous for his best-selling image, The Singing Butler. Vettriano gained acclaim for his film noire 1930s glam s...

Emilio Tadini Poster Exhibition is an original offset and lithograph poster realized in 1976. The artwork was realized in the occasion of the exhibition "Museo dell'uomo" held in Ron...

Olympic Games Beijing - Poster is a vintage offset print after a work by Alexander De Cadenet. Hand signed lower right. The poster was realized on the occasion of the Olympic Games...

Vintage gallery exhibition poster. The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. Jean-Paul Riopelle, CC GOQ (7 October 1923 – 12 March 2002) was a painter and sculptor from Quebec, Canada. He became the first Canadian painter (since James Wilson Morrice) to attain widespread international recognition. Born in Montreal, Riopelle began drawing lessons in 1933 and continued through 1938. He studied engineering, architecture and photography at the école polytechnique in 1941. In 1942 he enrolled at the École des beaux-arts de Montréal but shifted his studies to the less academic école du Meuble, graduating in 1945. He studied under Paul-Émile Borduas in the 1940s and was a member of Les Automatistes movement. Breaking with traditional conventions in 1945 after reading André Breton's Le Surréalisme et la Peinture, he began experimenting with non-objective (or non-representational) painting. He was one of the signers of the Refus global manifesto. In 1947 Riopelle moved to Paris and continued his career as an artist, where, after a brief association with the surrealists (he was the only Canadian to exhibit with them) he capitalized on his image as a "wild Canadian". His first solo exhibition took place in 1949 at the Surrealist meeting place, Galerie La Dragonne in Paris. Riopelle married Françoise Lespérance in 1946; the couple had two daughters but separated in 1953. In 1959 he began a relationship with the American painter Joan Mitchell, Living together throughout the 1960s, they kept separate homes and studios near Giverny, where Monet had lived. They influenced one another greatly, as much intellectually as artistically, but their relationship was a stormy one, fueled by alcohol. The relationship ended in 1979. His 1992 painting Hommage à Rosa Luxemburg is Riopelle's tribute to Mitchell, who died that year, and is regarded as a high point of his later work. Riopelle's style in the 1940s changed quickly from Surrealism to Lyrical Abstraction (related to abstract expressionism), in which he used myriad tumultuous cubes and triangles of multicolored elements, facetted with a palette knife, spatula, or trowel, on often large canvases to create powerful atmospheres. The presence of long filaments of paint in his painting from 1948 through the early 1950s[8] has often been seen as resulting from a dripping technique like that of Jackson Pollock. Rather, the creation of such effects came from the act of throwing, with a palette knife or brush, large quantities of paint onto the stretched canvas. Riopelle's voluminous impasto became just as important as color. His oil painting technique allowed him to paint thick layers, producing peaks and troughs as copious amounts of paint were applied to the surface of the canvas. Riopelle, though, claimed that the heavy impasto was unintentional: "When I begin a painting," he said, "I always hope to complete it in a few strokes, starting with the first colours I daub down anywhere and anyhow. But it never works, so I add more, without realizing it. I have never wanted to paint thickly, paint tubes are much too expensive. But one way or another, the painting has to be done. When I learn how to paint better, I will paint less thickly." When Riopelle started painting, he would attempt to finish the work in one session, preparing all the color he needed before hand: "I would even go as far to say—obviously I don't use a palette, but the idea of a palette or a selection of colors that is not mine makes me uncomfortable, because when I work, I can't waste my time searching for them. It has to work right away." A third element, range of gloss, in addition to color and volume, plays a crucial role in Riopelle's oil paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; color, volume, and range of gloss, would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the Younger European Painters exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse Gallery in New York. In 1954, works by Riopelle, along with those of B. C. Binning and Paul-Émile Borduas represented Canada at the Venice Biennale. He was the sole artist representing Canada at the 1962 Venice Biennale in an exhibit curated by Charles Comfort...

And Then x 6 (Blue: The Polke Method) Date of creation: 2015 Medium: Offset lithograph with silver Media: Paper Edition: 300 Size: 50 x 50 cm Observations: Offset lithograph with sil...

'Keith Haring Painted Man'/Keith Haring Into 84: A set of 2 announcement cards for Keith Haring’s well-documented exhibition, 'Into 84' at Tony Shafrazi Gallery, New York, 1983. For this series Haring borrowed Jones' body — from head to toe — as the canvas to his work. A bodily canvas defined by much of the bold pictograms characteristic of Haring's artistic signature. Photos by Haring's long-time friend and collaborator Tseng Kwong Chi. Looks fantastic framed as a set. Off-set printed gallery announcements, 1983. Dimensions: 6 x 4 inches (applies to each individual). Good overall condition with well-preserved colors. Some surface creating to red card. Unsigned from an edition of unknown. Further About: In 1983 Keith Haring teamed up with award-winning choreographer and dancer Bill T. Jones, founder of the Bill T. Jones/Arnie Zane Dance Company. Keith and Bill met in London in 1983 at a time when the graffiti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. After briefly studying commercial art in Pittsburgh, Haring came across a show of the works of Pierre Alechinksy and decided to pursue a career in fine art instead. He moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia.The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C. Related Categories Modern Dance. Ballet. Keith Haring Figurative Drawings. Keith Haring Into 84 poster. Keith Haring and Tony Shafrazi. Haring Shafrazi.

Still Life is an original vintage offset print on ivory-colored paper, realized by Franco Gentilini ( Italian Painter, 1909-1981) in 1970s. The state of preservation of the artwork...

Keith Haring Tony Shafrazi 1982: set of 4 printed works: A set of four double-sided lithographic inserts from the seminal, spiral bound 1982 Keith Haring Tony...

Takashi Murakami Superflat Exhibition Poster 1999: Rare 1990s exhibit poster designed by Murakami and published by Marianne Boesky Gallery New York...

This rare exhibition poster was published by Achenbach Art Editions for the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany, as part of their Collection of European Masters ...

Paper Size: 21 x 28 inches ( 53.34 x 71.12 cm ) Image Size: 21 x 28 inches ( 53.34 x 71.12 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

"The Prairie School Collection - Rug" is an offset lithograph poster with gold foil. This piece advertises an exhibition of Frank Lloyd Wright's designs. Unsigned. 34 7/8" x 22" art...

Jean-Michel Basquiat Downtown 81: A rare massive-sized theatrical poster published circa 2001 to promote the historical early 1980s Basquiat film: Downtown 81. A highly collectible ...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

This is not signed or numbered. it is from a folio of prints. Laura Fiume was born in Urbino, central Italy in 1953. Her education took place in Milan at the Liceo Artistico and at the Polytechnic School of Design. In 1976 she moved to Canzo, near Como where she learned serigraphy, ceramics, and painting from the well known artist Salvatore Fiume, her father. At the beginning the main subject of her works was that of fishes. She then extended her interest to the wider world of animals, interpreted through a deliberately naïve style and very bright colours. In 1983 Laura’s works were exhibited both at the Basel Art Fair and at Artexpo in New York. The latter marked the beginning of a collaboration with the Work’s II Gallery In Southampton (NY) which would continue until 1988. Her major exhibitions of those years were in Milan at the Palazzo dell’Arengario, now home of the Museo del Novecento in Piazza Duomo, (1985), and in Venice at the Assicurazioni Generali headquarters in Piazza San Marco (1987). In 1983 Laura began her ceramic production in her father’s workshop of Canzo located in a former silk mill. Between 1990 and 1992 thanks to an exclusive agreement with a Japanese company her paintings and graphic works were distributed throughout Japan. The 1990 exhibition at the Artesanterasmo Gallery of Milan on the theme of mirrors was the only occasion in which she exhibited her paintings with her father. Her collaboration with that gallery has been steady since 1988. In 1992, following a suggestion from the well known architect Pepe Tanzi, Laura collaborated to the launch of the Pozzi & Verga new collection of tables and chairs by including images of those pieces of furniture in her own paintings. Between 1992 and 2000 she had her own showroom in Milan where her collections of ceramics and her creations for leading companies like Ricchetti (tiles), Fede Cheti (home fabrics), Edilkamin (fireplaces and stoves), Kaigai (textiles for clothings and bathroom towels), Rosenthal (china), and Proserpio Arredamenti (furnishings and frabrics) were on display. In 1995 she was chosen as Designer of the Year by Meyer Mayor, the distinguished Swiss company specialising in kitchen and table linen production. In the 1995 exhibition entitled Walls and Terracottas at the Artesanterasmo Gallery of Milan abstract most of the subjects were painted on dirt-like materials. In the same year she also presented her new Tableaux an Terre at the L’Ile en terre Gallery of Saint Paul de Vence, France. Between 1996 and 2005 she collaborated with the Edizioni San Paolo Publishers illustrating children’s books and stories for kids in the G-baby Magazine. In 1999 she increased her show-room space by creating Atelier Produzioni d’Arte where prints, ceramics, and sculptures by various international artists were presented. In 2000 Laura began her collaboration with Raika of Japan designing their fashion collections which have been on display since 2002 in the Showroom Laura Fiume at the Mitsukoshi Department Store in Tokyo. In 2000 Laura designed a collection of coffee cups called The Jungle Collection for Cellini Deutschland. In April 2003, as part of the events that took place during the Salone del Mobile of Milan, Laura held a large exhibition at the Spazio Exté entitled Other Rooms: A Tribute To Philippe Starck. On that occasion Laura enjoyed the collaboration of Alessi, Driade, and Flos who kindly lent her the pieces from their Philippe Starck production represented in her paintings for an installation in that exhibition. In June 2003 Laura held a one-artist exhibition at the Svetog Krševana Gallery in Šibenik, Croatia as part of the International Children’s Festival of that town where she exhibited her early works dedicated to the world of children. In 2005 she gave her contribution to the restyling of the L’Arenella Hotel on the Isola del Giglio, Tuscany, by providing a number of enlarged images of her works which became the characterizing element of the hotel’s interiors. In the summer of the same year she held a retrospective at the Vartai Gallery in Vilnius, Lithuania. In 2005 she also presented an installation within the project Ten Arm-chairs for Ten Artists, an initiative by Molteni & C, a leading company in the furniture field, where Laura was asked to decorate a Molteni arm-chair from the Reversi collection and to carry out a number of paintings using the same fabrics covering their couches and arm-chairs. In 2006 there were as many as three exhibitions of Laura’s. The first one, called Visual Amplifications was held in Fiesole, near Florence, in the museum within the St. Alexander Basilica building. The second one, entitled Private Stories, took place in Sansepolcro, Tuscany at the Piero della Francesca City Museum. The third exhibition, entitled Trame d’interni (Plots in Interiors) was hosted in Milan by the Artesanterasmo Gallery where Laura presented her new paintings on fabrics provided by well known fabric producer Enzo degli Angiuoni. In 2007 she exhibited her works in Rome at the Galleria Margutta 3 and then at the trendy TAD Conceptstore showroom of Via del Babuino. Both exhibitions were strictly connected through the idea of displaying works in harmony with TAD’s furnishings. In 2007 Laura was also invited to take part in Milan’s Cow Parade...

Richard Prince, Dude Ranch Nurse, Lithograph with Collage, 2008 Lithograph with collage with offset lithography, hand colouring, hand cutting and pencil F...

Kansei (trade name of Rinpa-school Edo Painter Ogata Kōrin, literal meaning: "Voice of The Mountain Stream") 2007 by Takashi Murakami Offset print, cold stamp and high gloss varnishi...

Introduced in 2006 "Time Bokan - green" 2006 by Takashi Murakami Offset print, numbered and signed by the artist 19 11/16 × 19 11/16 in 50 × 50 cm (image and sheet) Framed dimensions...

This striking image of model Ken Moody was captured by renowned photographer Robert Mapplethorpe and is drawn from a 1994 box set published by teNeues Publishing Company and printed ...

The Whitney Museum "Alex Katz" Opening Area After Party invitation/announcement card 1986: Rare vintage Alex Katz invitation/announcement card publish...

A beautiful poster advertising a less famous, doomed Cunard ship. c1950. Offset lithograph in colors on lightweight white wove paper, 16 x 12 3/8 (420 x 315 mm); sheet 21 7/8 x 17 7...

Original poster showing a “Baby in a Bidet”. In Italian it is Maniffatura Ceramica Pozzi. Linen backed in very fine condition, ready to frame. This Italian poster was only know...

Rare and giant vintage poster of Pablo Picasso Exhibition Milan, Palazzo Reale, 1953.  Limited edition of 1,000 copies, most of which lost or badly damaged overtime. Mounted on canv...

Paper Size: 31.5 x 54.75 inches ( 80.01 x 139.065 cm ) Image Size: 19.75 x 50.5 inches ( 50.165 x 128.27 cm ) Framed: No Condition: A: Mint Additional Details: This grouping of...

The 2000 Roland Garros poster by Antoni Tàpies is a compelling fusion of sport and abstract art. Its textured, abstract composition and philosophical undertones make it a standout pi...

PAUL CÉZANNE (French, 1839-1906). Offset Lithograph, edition of 1000. Measures 19.5 x 23.5 inches Framed. The image is in Excellent Condition. The frame, mat and casing show signs of...

This framed piece features an iconic image by renowned photographer Annie Leibovitz, representing her famous portrait of John Belushi and Dan Aykroyd. Captured with Leibovitz’s signa...

ALMOST VD; 1946 military poster by Franz Oswald Schiffers. Almost! VD, the 1946 U.S. World War II (WWII) health poster warning soldiers overseas of the consequences of venereal disease. VD Almost! is a vintage 1946 public service announcement poster by Franz O. Schiffers (1902-1976). Schiffers was commissioned to create several posters warning against venereal disease for the U.S servicemen stationed overseas. The artwork is bold, clear and direct. In the post-World War II era, the piece sent a serious message to prevent contracting disease through relations with foreigners. In today's day and age, these pieces are quite humorous and decorative. Virile soldiers are shown to be up against the looming threat of venereal disease. The soldier standing on the pier watching his ship sail away would have to make a very embarrassing explanation to his wife or girlfriend as to why he was left behind. Franz Oswald Schiffers (born August 5, 1902 in Eilendorf in Aachen , February 12, 1976 in Berlin ) was a graphic artist and film poster artist . He was one of the first graphic artists of the 1930s to achieve photorealistic effects in their works. At his father's request, Schiffers initially trained as a teacher before moving to Berlin in 1925 and became a graphic designer at UFA (Universum Film AG). After designing a series of movie posters there, Schiffers became independent in 1932 as a commercial artist (now a graphic designer). In the 1930s, Schiffers specialized in advertising posters for beverage producers - especially beer advertising. The trademark of his beer posters is the meticulous design of beer glass with shiny drops of water that trickle down the misted glass. In this photorealistic context one also speaks of " veristic " graphics. After the seizure of power by the National SocialistsNazis , Schiffers temporarily worked for the Reich Propaganda Ministry. He designed u. a. the so-called "shadow man campaign" with the well-known slogan "enemy hears with!" - A German graphic artist who designed movie posters and advertisements in late-1920s and early 1930s Germany. During the Nazi era, Schiffers was commissioned by the Nazi propaganda office to create German propaganda...

Robert Willson SCULTURE - VETRO - DEDICATA AL MAESTRI DEL VETRO DI MURANO ROBERT WILLSON, 1964 Offset lithograph on wove paper 27 1/2 × 20 1/2 inches Un...

I've Left My Love Far Behind. Their Smell, Every Memento…, 2010 by Takashi Murakami Offset print, signed and numbered by the artist 26 ³/₁₆ × 18 ³/₄ in 66.5 x 47.5 cm Edition 105/30...

Artist: (after) Karl Schmidt-Rottluff (German, 1884-1976) Title: "Kunsthandel Wolfgang Werner KG (Nudes)" Year: 1984 Medium: Original Offset-Lithograph, Exhibition Poster on yellow wove paper Limited edition: Unknown Printer: Unknown Publisher: Kunsthandel Wolfgang Werner KG, Bremen, Germany Framing: Recently framed in a contemporary black moulding with frame space Framed size: 29.25" x 19.5" Sheet size: 27.25" x 17.75" Image size: 9.5" x 12" Condition: In excellent condition Extremely rare Notes: Poster produced for a special posthumous exhibition of Rottluff's early watercolors and printmaking "Schmidt Rottluff" at Kunsthandel Wolfgang Werner KG, Bremen, Germany from March 8 - May 12, 1984, in tribute to the artist's, would have been, 100th birthday. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker who was noted for his Expressionist landscapes and nudes. In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friend Erich Heckel met Ernst Ludwig Kirchner and Fritz Bleyl, two other architecture students who shared their passion for painting. Together they formed the organization of Expressionist artists known as Die Brücke...

Ed Ruscha Paintings (Hand signed by Ed Ruscha), 2014 Offset lithograph poster (Hand signed on the front) Published by Gagosian Gallery, Rome 26 × 27 inches Unframed Highly collectibl...

This limited edition print reproduces one of Piet Mondrian's rare and intimate flower paintings, offering a glimpse into the artist’s softer and more expressive side. While Mondrian ...

Keith Haring ‘No On 64’ (Keith Haring 1986): A rare vintage 1986 Keith Haring activist announcement illustrated by Haring in effort to denounce California's Proposition 64. Proponents of the then ballot, argued that the measure would merely return AIDS to the list of communicable diseases under public health laws. Opponents characterized 64 as an effort to force HIV-positive individuals out of their jobs and into quarantine. The measure was soundly defeated by voters. A rare historic 1980s Keith Haring activist collectible with striking imagery; seldom comes to market. Offset printed folding announcement card. 8.5x11 inches. Good overall vintage condition. Minor signs of aging & handling. Printed signature from a scarce edition of unknown; few known to have survived. Please message us for more works in this category. Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. After briefly studying commercial art in Pittsburgh, Haring came across a show of the works of Pierre Alechinksy and decided to pursue a career in fine art instead. He moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia.The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C. Related Categories: Keith Haring figurative. Keith Haring foundation. Keith Haring activist. Keith Haring Aids...

This reproduction of Mujer con Sombrero Rojo was featured in the Miami International Art Exposition in 1991. The piece showcases Botero’s iconic style, depicting a voluptuous woman a...

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