Offset Prints and Multiples

Original vintage travel poster: FLY PSA, "For a Song"; "How' ya gonna keep 'em down on the ground…." Flower power and psychedelic design on this Fly Pacific Southwest...

Jackson Pollock Exclusive invitation with first day cover, 1999 Offset lithograph fold out invitation with postmarked first day cover Stamp with official postmark from the US Post Of...

Figure 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 artwork is excel...

This original poster by Robert Rauschenberg was created for the Lincoln Center New York Philharmonic's 150th Anniversary on December 7, 1992. Printed by ULAE, it is part of an editio...

Part of Dwight Baird’s early 1990s For the Love of the Game series, The Catcher is a pencil-signed and numbered edition, capturing the enduring spirit of America’s pastime. Baird des...

2016 Offset lithographic poster 70 x 50cm Edition of 500 Hand signed by Emin Published by Emin International Tracey Emin (born 1963) is best known for her intimate, authentic, autob...

Paper Size: 34.75 x 23.5 inches ( 88.265 x 59.69 cm ) Image Size: 19 x 14.75 inches ( 48.26 x 37.465 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addi...

Nunzio Vintage Poster is a vintage offset print realized in 1989. Mixed colored offset poster realized in the occasion of the Exhibition by Galerie Di Meo Paris. Good conditions.

Original movie poster, Linen-backed original Indiana Jones and the Temple of Doom pre-release. "Coming May 23rd, 1984. Indiana Jones and the Temple of Doom, the 1984 Steven Spielberg treasure-hunting action-adventure fantasy sequel ("If adventure has a name... It must be Indiana Jones."; "Trust him." Starring: Harrison Ford, Kate Capshaw, Jonathan Ke Quan, Amrish Puri, Roshan Seth, Philip Stone...

Peter Halley, Frank Kozik Halley/Kozik, 1997 Offset Lithograph. Hand signed by both Peter Halley and Frank Kozik on the lower front. Edition 75/100 22 1/2 × 35 inches Unframed This color lithograph was created on the occasion of the Peter Halley and Frank Kozik exhibition at Wooster Gardens from May 3 - June 14, 1997. Hand signed by both artists on the lower front and is annotated as a study proof: S/P 75/100. Frank Kozik was born in Madrid, Spain in 1962 . At the age of 14 he moved to the United States and settled in Austin, Texas. Credited with single handedly reviving the “lost” art of the concert poster, his creative career rose largely out of his enthusiasm for Austin’s growing underground punk rock scene in the mid-eighties. Starting with black and white flyers for friends’ bands posted on telephone poles, his reputation grew as an artist whose work was graphically compelling as well as culturally gripping. This exhibition was an installation featuring an eight-year survey of punk rock posters...

Paper Size: 40 x 22 inches ( 101.6 x 55.88 cm ) Image Size: 40 x 22 inches ( 101.6 x 55.88 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: ...

Artist: Andy Warhol. Title: 'Mick Jagger' FS II.138 Framed Announcement card. Medium: Lithograph Size: Image size: 6" x 4" Framed: 10" x 8" Year: 1975 Description: Signed and numbere...

2007 Offset Lithograph for Douglas Gordon at Gagosian Paper Size: 26.75 x 34 inches ( 67.945 x 86.36 cm ) Image Size: 26.75 x 34 inches ( 67.945 x 86.36 cm ) Framed: No Condition: A...

Paper Size: 27.75 x 21.75 inches ( 70.485 x 55.245 cm ) Image Size: 27.75 x 21.75 inches ( 70.485 x 55.245 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

Original "The Girl Rush." linen-backed 1955 vintage film poster. Ready to frame. The Girl Rush is a 1955 American musical comedy film starring Rosalind Russell...

Paper Size: 39 x 24.5 inches ( 99.06 x 62.23 cm ) Image Size: 29.5 x 24.5 inches ( 74.93 x 62.23 cm ) Framed: No Condition: D: Heavy signs of wear, Torn, Damaged. SOLD AS IS. Price ...

Dennis Oppenheim Color applications for Chandra (hand signed limited edition), 1977 Color lithograph and photo lithograph on wove paper Signed and dated 1977 in graphite pencil on th...

Paper Size: 13.5 x 40 inches ( 34.29 x 101.6 cm ) Image Size: 7.75 x 37.25 inches ( 19.685 x 94.615 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addit...

Original Val de Loire, SNCF Railways vintage travel poster. Archival linen backed in excellent condition, ready to frame. Printer: Perceval, Paris. Pri...

Marina Abramovic The Spirit in Any Condition Does Not Burn (Hand signed by Marina Abramovic, with provenance label from the Royal Academy) 2011, 2023 Offset lithograph poster (hand ...

Jasper Johns "Jasper Johns Paintings", vintage Leo Castelli Gallery poster, 1984 Offset lithograph Unsigned Unnumbered 30 × 22 1/2 inches Unframed Offset lithograph poster published...

Original Blaupunk Auto Super vintage German radio poster. The image features a woman at the steering wheel inside her car. Professional archival line...

Not Even So is an original exhibition poster created by John Baldessari for his 1989 exhibition at Ivam Centre Julio González. The poster features a striking split image—on one side,...

Paper Size: 31.5 x 21 inches ( 80.01 x 53.34 cm ) Image Size: 21 x 14.75 inches ( 53.34 x 37.465 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional De...

Roe Ethridge Le Luxe II BHGG, Gagosian poster (hand signed, dated and inscribed by Roe Ethridge), 2023 Offset lithograph poster invitation/mailer (hand...

Paper Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Image Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: First edition exhibition poster by Bruce Nauman introducing his new installations at Leo Castelli’s Febriary 4th-25th, 1978. Photographed by Frank Thomas...

Original “Student Winter in Poland with Almatur” horizontal Polish poster. Travel and tourism office of the Socialist Union of Polish Students”. Th...

Paper Size: 9.75 x 17 inches ( 24.765 x 43.18 cm ) Image Size: 9.75 x 17 inches ( 24.765 x 43.18 cm ) Framed: Yes Frame Size: H: 10.75 x W: 18 x D: .75 in. Condition: A: Mint ...

Cecily Brown Paintings at Modern Art Oxford (hand signed and inscribed), 2005 Offset lithograph poster (signed and inscribed to Nadine) Hand signed and inscribed to Nadine by Cecily ...

Peter Halley New Works, Galerie Bruno Bischofberger (Hand signed), 1994 Offset lithograph poster (signed by Peter Halley) 19 × 26 1/2 inches Boldly signed in black marker on the fron...

Original Death Valley Monument, American Airlines vintage travel poster. Archivlal linen backed in fine conditon, ready to frame. Horizontal format. Year: 1954 Artist: Hubert A Lowman (1913 - 2006) Death Valley National Monument is a national monument in the United States. It is located in Inyo County, California. The monument is managed by the National Park Service. The monument was established on February 11, 1933. The monument covers an area of 5,362 square kilometers. It is the largest national monument in the United States. The monument is home to a diverse landscape. The landscape includes canyons, mountains, valleys, and deserts. The monument is also home to a variety of plants and animals. Plants in the monument include Joshua trees, creosote bushes, and cacti. Animals in the monument include bighorn sheep...

Lucas Arruda Brazilian, b. 1983) Untitled (from the Deserto-Modelo series), 2018 Medium: Hybrid print on paper Dimensions: 23 3/5 × 23 3/5 in 60 × 60 cm Edition of 500: Not signed, ...

Paper Size: 20 x 36 inches ( 50.8 x 91.44 cm ) Image Size: 20 x 30.5 inches ( 50.8 x 77.47 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supplemental C...

Jim Dine's exhibition at the University Gallery at Memphis State in 1987, featuring a poster depicting two Venus de Milo figures side by side, is a notable event in the artist's care...

Original first edition printing of Scandinavia by SAS, Scandinavian Airlines System. The first edition has a greyish panel along the bottom. The poster also features the SAS logo...

Screen print on paper realized by Leo Guida in 1970s. Signed in the plate. Not numbered. Excellent condition.

Original ‘AU DELA DU MISSOURI’ or Across the Wide Missouri, vintage Belgium movie poster. Museum linen backed. Smaller Belgium format. An affordable method to own an original Cl...

Original poster: Parc de Bagatelle et Louis Vuitton 1999 Hand-signed by the artist Razzia in black marker on the left side. In plate right side. Linen backed, ready to frame. Excellent condition. Linen-backed Parc de Bagatelle. Concours Automobiles et Louis Vuitton. September 1999. Hand-signed by the artist in black marker in the lower left. The signature on the plate is in the lower right. This original poster is also archivally linen-backed and ready to frame. This was the merger of Mercedes Benz and Chrysler with an automobile from each company represented. The Louis Vuitton house...

This very large original billboard poster, measuring 120 x 160 cm, was prominently displayed in specific areas of Paris to advertise Marc Chagall’s ex...

White Flame 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, repro...

Original World War 2 vintage poster: YOU CAN'T AFFORD TO MISS EITHER! BUY BONDS EVERY PAYDAY. Linen-backed, fine condition, ready to frame. Great ...

Paper Size: 37.5 x 24 inches ( 95.25 x 60.96 cm ) Image Size: 37.5 x 24 inches ( 95.25 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: Offset lithograph in five colors on white, moderately thick, slightly textured paper. Edition of 1000. 100 copies signed and unnumbered, 900 copies unsigned and unnumbered. Published by the Institute of Contemporary Art, Boston; and the Massachusett's Institute of Technology, Cambridge. Published on the occasion of the one-man exhibition Claes Oldenburg: Six Themes at the Institute of Contemporary Art, Boston, and the Hayden Gallery...

This artwork "Birds in the Tree" 1976 is a color offset lithograph by American wildlife artist Thomas Quinn, born 1938. It is hand signed, inscribed Arti...

Mark Grotjahn Backcountry, Gagosian Gallery London poster (hand signed by Mark Grotjahn), 2022 Offset lithograph poster (hand signed) Boldly signed in black marker on the front Unnum...

The Dienen, Dienen exhibition poster, featuring the work of Antoni Tàpies, was published by Galerie Lelong in 1997. This poster was designed to promote an exhibition of Tàpies' work,...

Dr. Goldfoot and the Bikini Machine. This is a bikini machine ... Order your '66 model now. US 1 sheet, linen backed with original fold marks restored, ready to frame. Excellent condition. NSS: 65/364 Starring Vincent Price, Frankie Avalon, Dwayne Hickman, Susan Hart...

Original "World Premiere." Vintage movie poster. Linen-backed and in good condition for a poster created during World War 2. NSS: 41/347. Certificate of Authenticity. This is an original, theater-used US 1-sheet to the comedy starring John Barrymore...

Beautiful poster of Roman Cieslewicz for the exhibition at the Grand Palais in 1972: Twelve Years of Contemporary Art in France. Roman Cieslewicz (Cieślewicz), born on January 13, 19...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Robert Petersen The Clocktower Exhibition (Hand signed and inscribed), 1979 Offset lithograph poster (hand signed and warmly inscribed) Warmly signed and inscribed "For Marilyn Love ...

Sean Scully Estampes, France (Hand Signed), 2006 Offset Lithograph poster Boldly signed in black marker on the front by Sean Scully for the present owner Unframed This is a wonderful piece for true Scully fans. It's a rare 2006 poster from the European exhibition entitled "Sean Scully Estampes" (Sean Scully Prints...

Paper Size: 30 x 20 inches ( 76.2 x 50.8 cm ) Image Size: 15.5 x 10 inches ( 39.37 x 25.4 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Supplem...

The first edition poster created by Jasper Johns for the exhibition at Leo Castelli's gallery, held from April 19 to May 17, 1969, is a notable piece of art history. This offset lith...

Original exhibition poster published for Sherman’s solo show at Gagosian Gallery, June–September 2009. The image features a collage of Sherman in various personas, showcasing her si...

Damien Hirst's "Cherry Blossoms" exhibition at the Fondation Cartier pour l'art contemporain was a significant event in the contemporary art world, marking a new direction in Hirst’s...

Original SHALAKO vintage movie poster, 1sheet, 1968 great art of Sean Connery as Shalako, sexy Brigitte Bardot! This collectible poster, printed in 1968 to promote the theatrical re...

Original Arizona Oak Creek Canyon TWA Constellation aircraft vintage travel poster. Archival linen backed from the 1950s Excellent condition, ready to frame. Although a few of these posters for Oak Creek Canyon have survived, few if any survived in such fabulous condition. Just south of Flagstaff...

Roman Castels is a beautiful offset realized by Franco Fontana . Good conditions. Colored poster from a photograph by Franco Fontana (Modena, 1933), one of the Italian most famou...

This is an original, limited edition exhibition poster by Leni Riefenstahl, hand-numbered out of 250 in pencil. The poster is a rare collectible due to its limited print run and hist...

Paper Size: 8.5 x 5.5 inches ( 21.59 x 13.97 cm ) Image Size: 8.5 x 5.5 inches ( 21.59 x 13.97 cm ) Framed: Yes Frame Size: Condition: A-: Near Mint, very light signs of handling A...