Offset Prints and Multiples

A striking and imaginative composition by Danish artist Per Arnoldi, featuring only hands and feet to evoke the graceful motion of dance. The minimalist elements work in harmony to c...

Woman is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1952. The print suite was realized in 1985 in a limited edition of 2500, a...

Original vintage movie poster: “MR. DEEDS GOES TO TOWN.” 'L'extravagant Mr. Deeds' Linen-backed Belgium movie poster. Longfellow Deeds lives in a small town, leading a small-town...

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 Dartmouth Outing Club Golden 50th Anniversary. Archivally linen backed in excellent condition, ready to frame. The image on this poster features vignettes of the previous 50 posters created for the Dartmouth ski...

Ossip Zadkine Galerie Im Erker Exhibition (Hand Signed), 1961 Off-set Lithograph Poster (Signed by Zadkine) Signed in ink on lower right front 33 1/2 × 21 1/2 inches Unframed Provena...

Original I'LL CARRY MINE TOO! ORIGINAL VINTAGE WWII POSTER. Artist: Valentino Sarra. Size: 22" x 28". Year: 1943. Original U. S. Government World War II vintage poster. Professional archival linen backing; ready to frame. Original WWII fold marks restored during linen backing. (All WWII U. S. Government posters were folded - this is not a defect.) During World War ll conservation was a major part of the war effort. In this image we see the lady carrying her own groceries home and thereby saving wear and tear on trucks and tires as well as aiding the troops. Each citizen was encouraged to do their part in helping in the allied war effort. This is an Original Vintage Poster; it is not a reproduction. A fun World War 2...

"In the Sky" is an original 1982 poster for the exhibition of "40 international aerial artists exhibiting over Purchase, New York, Aug 8, Washington DC, Oct 9, New York City, Oct 16, 1982". Produced and orchestrated by the Rainbow Art...

Stanley Boxer Hand Signed and Inscribed Abstract Expressionist Poster, 1979 Offset Lithograph Poster Hand signed and warmly inscribed by ...

The 2016 Roland Garros poster by Marc Desgrandchamps, a distinguished French contemporary artist, offers a contemplative and abstract interpretation of the French Open. Desgrandchamp...

Ray Parker Ray Parker at Molly Barnes: Rare vintage 1960s LA exhibition poster, 1968 Offset lithograph Printed by Contemporary Art Lithographers, Minneapolis, Minnesota 36 × 24 inche...

JONAS WOOD Interiors and Landscapes Offset lithograph poster (hand signed and inscribed) 24 × 18 inches Hand signed, dated by Jonas Wood with the artist's distinctive basketball leg...

Ernest Tino Trova Limited Edition of 2000 Silkscreen on heavy art paper Unframed This exclusive poster, created by renowned American artist Ernest Trova as an edition for Pace Columbus, is a testament to his profound influence in contemporary art and his longstanding association with Pace Gallery...

Jim Dine Olympian Gestures (Hand Signed by Jim Dine), 1984 Limited Edition lithograph and offset lithograph poster Hand signed on the front 38 1/5 × 25 inches The limited edition, h...

Edition of 300. Murakami signed and numbered in silver marker pen along the lower right edge. Offset lithograph with cold foil stamp and high gloss varnishing on UV paper—diameter si...

Sid Maurer, American (1926 - ) - Marilyn Monroe Winter Coat, Medium: Offset Reproduction on Paper, signed in pen, Image Size: 16.5 x 12 inches, Size: 22 x 17 in. (55.88 x 43.18 cm)

Paper Size: 26.75 x 18.25 inches ( 67.945 x 46.355 cm ) Image Size: 19.25 x 12.75 inches ( 48.895 x 32.385 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

This rare and highly sought-after poster is a first edition exhibition piece created by Damien Hirst for his "New Paintings" exhibition at the prestigious Gagosian Gallery in New Yor...

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

This original first-edition exhibition poster was created for Miriam Schapiro’s 1967 show Silver Windows at the prestigious André Emmerich Gallery. Schapiro, a key figure in the femi...

Original vintage poster, linen backed FiftyFair, Help us Celebrate Fifty Flying Years 'WESTERN AIRLINES". The image of a biplane in the sky flying ...

Original poster: THE WORLD OF HOLLAND AMERICAN CRUISES. Artistic: David Klein. Rare original unbacked vintage original David Klein poster printed on heavier paper stock with a glossy UV protective finish. What's not to love about this poster? Here are a few things going on in this original cruise line poster. Some champagne with lobster, Rockefeller Center statue, Mosco, Athena Parthenon, a Japanese woman in a kimono, Christ on the hill in Brazil, the large head of an elephant in India, a zebra, African headdress...

Vintage offset poster realized fior Confindustria in 1986. Very good condition.

 The Mountain and the Rose is a beautiful offset realized by Gino Marotta. Limited edition of 1.000. Good conditions. Colored poster from a photograph by Gino Marotta.

Vintage offset poster realized after Lucio Del Pezzo for the Artist's Exhibition at Galleria Rondanini, Rome. Excellent condition.

Vintag poster realized in occasion of Gino Marotta's Exhibition at Galleria Rondanini in 1982. Limited edition of 1000. Very good condition.

Association "Massimiliano Kolbe". Exhibition in Gallery Rondanini, Rome, 1987. Excellent condition.

Original title: "I Castelli Romani". Poster of the 1983 Exhibition by Neal Slavin at Galleria Rondanini Rome. Excellent conditions.

Richard Serra Synagoge Stommeln (German Synagogue) The Drowned and the Saved (Hand signed twice by Richard Serra), 1992 Offset lithograph poster (hand signed twice by Richard Serra) ...

Peter Halley Musee d'Art Contemporain Pully/Lausanne (Hand Signed), 1992 Offset lithograph poster (hand signed by Peter Halley) 11 1/2 × 16 1/2 inches Unframed Hand signed in black ...

The Winner. XIV Olympic Winter Games, Sarajevo is a vintage poster realized by the artist Gottfried Helnwein, in occasion of the XIV Winter Olympics games in Sarajevo, in 1984. Very...

David Salle Hand Signed Poster by David Salle upper left, 2000 Offset Lithograph Signed by the artist and dedicated to Nadine 25 × 30 inches Unframed This is a uniquely signed David...

Mel Ramos 50 Years of Pop Art (Hand signed, dated and inscribed to Nadine by Mel Ramos), 2010 Softback monograph with dust jacket (hand signed, dated and inscribed by Mel Ramos) Hand...

Paper Size: 23.75 x 18.25 inches ( 60.325 x 46.355 cm ) Image Size: 15.75 x 13.25 inches ( 40.005 x 33.655 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

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. A piece of history! 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...

Poster featuring a drawing of Jack Goldstein by Robert Longo that was the cover for issue no. 3 of ZG Magazine in New York. Hand signed and dedicated in...

Brice Marden Attendants, Bears and Rocks (Hand Signed by Brice Marden), 2002 Offset Lithograph Poster Hand signed boldly in black marker by Brice Marden on the front 17 × 22 inches U...

Affiches de la Première Guerre Mondiale, authored by Maurice Rickards and published in 1968 by Editions Albin Michel, Paris, is a comprehensive hardcover edition bound in cloth with ...

This striking poster by renowned artist Martin Kippenberger features an image of a hand holding a pack of Star Cigarettes, designed by Philip Morri...

Max Ernst, German (1891 - 1976) - Le Point Cardinal Poster, Year: 1964, Medium: Poster, Size: 24.25 x 16 in. (61.6 x 40.64 cm), Printer: Imprimerie Union, Description: From the ...

“Arena” The First 3 Dimension Western. Original theater issued vintage movie poster - 1953. Professional archival linen backed with the original theater-issued fold marks restored. Ready to frame. Size: 27" x 41.5" Original linen-backed 1953 first 3-D Western movie poster. The FIRST 3-D Dimension Western MGM full-length feature. You live dangerously in MGM's great outdoor romance! Print by Technicolor. Photographed in Technicolor Ansco Color. Gig Young, Jean Hagen, Polly Bergen...

Makes a fantastic gift! RETNA and El Mac Vagos y Reinas (Vagabonds and Queens), Hand Signed by both Artists, 2009 Limited Edition Exhibition Catalog and Screen Printed Box. Hand sign...

1949 New York Graphic Society Print after E. Opper Printed in USA Print is in Good Condition 15 x 17in.

Original David Copperfield vintage movie poster. One half sheet. Metro – Goldwyn –Mayer. DAVID COPPERFIELD 1962 Original U.S. Half Sheet horizontal Movie Poster. NSS: R-62/207. Fine condition. The first release of this movie David Copperfield was in 1935. Starring: W. C. Fields, Lionel Barrymore...