Offset Prints and Multiples

Takashi Murakami, Japanese (1962 - ) - Flowerball: Colorful, Miracle, Sparkle, Year: 2022, Medium: Offset Lithograph, signed and numbered in silver marker lower right, Edition: 10...

Artist: after Ed Ruscha Title: America: Her Best Product (Made in USA) from the Kent Bicentennial Portfolio Year: 1975 Medium: Offset Lithograph (unsigned as issued) Image: 13 x 9 in...

Such Cute Flowers (2013) by Takashi Murakami Offset print, numbered and signed by the artist 19 11/16 × 19 11/16 in 50 × 50 cm Edition 224/300 About the Artist: Takashi Murakami is...

Artist: Christo, Title: Running Fences yellow Series: Running Fences Date: 1976 Medium: Offset Lithograph Dimensions: 25.25" x 39.5" Signature: Signed Edition: 1000

This print features Ben Shahn's *Ohio Magic*, a striking work that exemplifies the artist’s signature style, blending social commentary with vivid imagery. Presented by the Californi...

Hans Hofmann Hans Hofmann at Andre Emmerich Gallery Poster, 1973 Offset lithograph poster Plate signed on the bottom right front Frame Included (held in original vintage metal frame)...

This reproduction of Letter on the Blind II by Frank Stella, published and printed by the de Young Museum in 2014, references Stella's original 1974 painting on canvas. Known for his...

Irises in a Vase by Vincent van Gogh was originally painted in 1888. This painting falls within his Arles period, a time when van Gogh was living in the South of France and producing...

The Fiancés of Knokke I is a vibrant and joyful reproduction from Nikki de Saint Phalle’s Nana Sculpture series. Featuring a stylized depiction o...

This elegant print by Will Barnet, titled Circe, exemplifies the artist’s signature style—quietly contemplative, refined, and deeply rooted in modernist figuration. Barnet, celebrate...

First edition exhibition poster designed and created by Man Ray for the opening of the Los Angeles County Museum of Art in 1966. It is unsigned and not numbered. An undetermined amou...

Iconic 1975 "Tommy" Original One-Sheet Movie Poster – Linen Backed. The Ultimate Visual Anthem for the Ultimate Rock Opera Own a piece of music and cinematic history with this stunn...

Title: Without Borders Year: 2000 Medium: Offset lithograph in colors on gloss archival paper Size: 36 x 24 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as iss...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Not signed, edition of 3433 12 1/2 × 16 3.5 inches Unframed Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters 1999 Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

The 2015 Roland Garros poster by Doze Niu is a vibrant and dynamic work that captures the energy and excitement of the French Open through bold colors and contemporary design. Niu’s ...

Andy Warhol (after), Double Self-Portrait — Louisiana Museum, 1978 Original Danish exhibition poster; linen-backed; Very Fine (Grade A) Striking vintage exhibition poster created b...

This offset lithograph in colors in three panels was created in 2002 and is from the unsigned edition of unknown size measuring
 
25 x 20 ½  in. (63.5 x 52 cm.) each and 25 x 62 in. ...

Andy Warhol Mick Jagger, Leo Castelli gallery 1975: A stunning set of ten announcement cards published by Castelli Graphics in 1975 to advertise the...

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...

Raymond Pettibon, "No Mag,'" 1981: A rare late 70's/early 80's Los Angeles Punk scene publication featuring several stand out illustrations by Raymond Pettibon ...

Yves Klein, Untitled, Coloured Fire Painting (FC17) - Poster for the Louisiana Museum of Art?This poster, created for the Louisiana Museum of Art, features Untitled, Coloured Fire Pa...

Nicholas Krushenick New York State Council on the Arts Award poster, 1970 Silkscreen on wove paper - original 1970 poster, not a reprint Unsigned, unnumbered, unframed 35 × 25 inches...

Medium: offset lithograph (after Leger). Printed on Velin bouffant paper from the Papeteries de Hauteville and published by Edito-Service Geneve in 1980. This reproduces one of the o...

Larry Rivers "The Music Festival of the Hamptons / July 18-27 1997" poster, Not hand signed. [Dimensions: 24" H x 18" W] Larry Rivers (born Yitzroch Loiza Grossberg) (1923 – 200...

The Visit is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 11 from the portfolio Ecce Homo published between 1922/1923, edition of Der Mali...

John Baldessari's Paradise is a thought-provoking piece that plays with the concept of utopia and the viewer’s expectations of imagery. Known for his witty and conceptual approach, B...

Silkscreen VIII from Apocalypse is a 1988 vintage offset lithograph postcard, published by Art Unlimited Amsterdam and printed in Holland. The postcard is framed in a black wood fram...

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed by Frank Stella) Fra...

From the Nudes portfolio, single sheet titled "Roommates" by Roy Lichtenstein published by Tyler Graphics. Not numbered and unsigned. Paper Size: 11 x 8.5 inches ( 28 x 22 cm ) Imag...

Anthony d’Offay Gallery, London. Hand signed in pencil by the artist. This iconic exhibition poster features a striking portrait of Joseph Beuys, created by Andy Warhol, merging two ...

Paper Size: 22 x 30 inches ( 55.88 x 76.2 cm ) Image Size: 17 x 30 inches ( 43.18 x 76.2 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Shipping a...

New Work With A Camera, 1983 Offset Lithograph Poster Autographed by David Hockney lower right front 39 × 24 1/2 inches Unframed This offset lithograph poster was created on the oc...

Paper Size: 20 x 16 inches ( 50.8 x 40.64 cm ) Image Size: 13.25 x 9.75 inches ( 33.655 x 24.765 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addition...

Title: God Bless America Year: 2001 Medium: Offset lithograph in colors on gloss archival paper Size: 24 x 18 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as i...

Offset print with cold stamp Edition 39 of 300 60 x 60 cm (23.6 x 23.6 in) Signed and numbered on the front Mint. Minor imperfections may appear due to the production process

Kehinde Wiley Passing/Posing, Paintings & Faux Chapel (suite of 18 separate prints), 2004 Portfolio of 18 Separate Color offset lithographs in original black paste board portfoli...

La Sortie is an offset lithograph by Roy Lichtenstein, created as part of a portfolio of six Lichtenstein prints published by the Guggenheim Museum and now out of print. This work ex...

Vintage offset lithograph postcard of an untitled work by Keith Haring, published in 1993 by the Neues Publishing Company in New York and printed in Germany. Haring’s works from this...

Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 14.5 x 19.75 inches ( 36.83 x 50.165 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...

This original 1972 poster by Alex Katz was created for an exhibition at Zabriskie Gallery, supporting the Passage of the Equal Rights Amendment (ERA). A striking example of Katz’s si...

Original vintage travel poster for the city of Rimini by the poster artist Rene Gruau. Size: 27.25" x 39". Excellent condition. Paper. An original poster was created for the cit...

Medium: offset lithograph (after Leger). Printed on Velin bouffant paper from the Papeteries de Hauteville and published by Edito-Service Geneve in 1980. This reproduces one of the o...

Original Exhibition Poster Paul Klee, Berggruen and Cie, Paris 1955. Measuring This poster is an original print, not a reproduction. The poster is in very good vintage condition wi...

20th LA Film Fest (Hand Signed), 2014 Offset Lithograph with Ed Ruscha authograph 36 × 24 inches Boldly signed on the front in black marker by Ed Ruscha Published by Film Independent...

Artist: After Helen Frankenthaler (1928-2011) Title: Mary Mary (Lincoln Center Honorary) Year: 1991 Medium: Offset lithograph poster on extra thick Somerset paper Edition: 2000 Size...

This poster features a detail from Danse à la ville (Dance in the City) by Pierre-Auguste Renoir, capturing the elegance and intimacy of one of his most celebrated ballroom scenes. T...

Limited Edition Artist's Book with Offset Lithographs. Autographed and numbered by Jean-Michel Basquiat Hand signed and numbered 542/1000 by Basquiat in ink Published by Bruno Bischo...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

Cy Twombly Galleria La Tartaruga, Rome 1958: RARE 1950’s announcement card illustrated by Twombly, on the occasion of, what is believed to be Twombly’s first ever European Exhibitio...

Raymond Pettibon 1982: Rare original punk flyer featuring artwork by Pettibon for a gig by Hari-Kari, Wasted Youth at Dancing Waters, in downtown San Pe...

This reproduction showcases an early rendering of the Chrysler Building in New York City, created by draftsman Andy Hickes. The image represents the building before its construction,...

Paper Size: 38 x 21.5 inches ( 96.52 x 54.61 cm ) Image Size: 30.25 x 18.5 inches ( 76.835 x 46.99 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Suppleme...

Paper Size: 23.5 x 26.75 inches ( 59.69 x 67.945 cm ) Image Size: 21.25 x 26.75 inches ( 53.975 x 67.945 cm ) Framed: No Condition: A: Mint Additional Details: Exhibition poste...

Rare exhibition poster featuring New Orleans Jazz Band by Jean Dubuffet, published in Germany in 1990 as part of the prestigious Collection of European Masters series by Achenbach Ed...

Original Hog Farm & Friends Poster by Rick Griffin — Psychedelic Counterculture Classic, Limited European Edition. The European Limited Edition poster was printed on lightweight whi...

Galerie Beyeler Exhibition Poster Signed in plate Jean Philippe Arthur Dubuffet (French, 1901 – 1985) was a French painter and sculptor of the École de Paris (School of Paris). His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is perhaps best known for founding the art brut movement, and for the collection of works—Collection de l'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. His childhood friends included the writers Raymond Queneau and Georges Limbour. He moved to Paris in 1918 to study painting at the Académie Julian, becoming close friends with the artists Juan Gris, André Masson, and Fernand Léger. Six months later, upon finding academic training to be distasteful, he left the Académie to study independently. During this time, Dubuffet developed many other interests, including free noise music, poetry, and the study of ancient and modern languages. Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and went on to start a small wine business in Paris. He took up painting again in 1934 when he made a large series of portraits in which he emphasized the vogues in art history. In 1942, Dubuffet decided to devote himself again to art. He often chose subjects for his works from everyday life, such as people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, as well as the Brucke painters, with their juxtaposing and discordant patches of color. In 1943, the writer George Limbour, a friend of Dubuffet from childhood, took Jean Paulhan to the artist's studio. Dubuffet's work at that time was unknown. Paulhan was impressed and the meeting proved to be a turning point for Dubuffet. His first solo show came in October 1944, at the Galerie Rene Drouin in Paris. This marked Dubuffet's third attempt to become an established artist In 1945, Dubuffet attended and was strongly impressed by a show in Paris of Jean Fautrier paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use thick oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, string, straw, plaster, gravel, cement, and tar. This allowed him to abandon the traditional method of applying oil paint to canvas with a brush; instead, Dubuffet created a paste into which he could create physical marks, such as scratches and slash marks. The impasto technique of mixing and applying paint was best manifested in Dubuffet's series 'Hautes Pâtes' or Thick Impastoes, which he exhibited at his second major exhibition, entitled Microbolus Macadam & Cie/Hautes Pates in 1946 at the Galérie René Drouin. His use of crude materials and the irony that he infused into many of his works incited a significant amount of backlash from critics, who accused Dubuffet of 'anarchy' and 'scraping the dustbin'. He did receive some positive feedback as well—Clement Greenberg took notice of Dubuffet's work and wrote that '[f]rom a distance, Dubuffet seems the most original painter to have come out of the School of Paris since Joan Miro...' Greenberg went on to say that 'Dubuffet is perhaps the one new painter of real importance to have appeared on the scene in Paris in the last decade.' Indeed, Dubuffet was very prolific in the United States in the year following his first exhibition in New York (1951). After 1946, Dubuffet started a series of portraits, with his own friends Henri Michaux, Francis Ponge, George Limbour, Jean Paulhan and Pierre Matisse serving as 'models'. He painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A few years later he approached the surrealist group in 1948, then the College of Pataphysique in 1954. He was friendly with the French playwright, actor and theater director Antonin Artaud, he admired and supported the writer Louis-Ferdinand Céline and was strongly connected with the artistic circle around the surrealist André Masson. In 1944 he started an important relationship with the resistance-fighter and French writer and publisher Jean Paulhan who was also strongly fighting against "intellectual terrorism", as he called it. Reception in America Corps de dame jaspé [Marbleized Body of a Lady] (1950) at the National Gallery of Art in 2022 Dubuffet achieved very rapid success in the American art market, largely due to his inclusion in the Pierre Matisse exhibition in 1946. His association with Matisse proved to be very beneficial. Matisse was a very influential dealer of contemporary European Art in America, and was known for strongly supporting the School of Paris artists. Dubuffet's work was placed among the likes of Pablo Picasso, Georges Braque, and Henri Rouault at the gallery exhibit, and he was one of only two young artists to be honored in this manner. A Newsweek article dubbed Dubuffet the 'darling of Parisian avant-garde circles,' and Greenberg wrote positively about Dubuffet's three canvases in a review of the exhibit. In 1947 Dubuffet had his first solo exhibition in America, in the same gallery as the Matisse exhibition. Reviews were largely favorable, and this resulted in Dubuffet having at least an annual, if not a biannual exhibition at that gallery. His reception in America was very closely linked to and dependent upon the New York art world's desire to create its own avant-garde environment. Specific examples of American artists interested in Dubuffet’s art were Alfonso Ossorio and Joseph Glasco. At the end of 1949, while Pierre Matisse was preparing Dubuffet’s January 1950 show, Alfonso Ossorio had traveled to Paris to meet Dubuffet and buy some of his paintings. Then in 1950, at Ossorio’s urging, his young friend Joseph Glasco left New York for Paris to meet Dubuffet. Glasco credited this encounter as having had an influence on his own art, and Dubuffet frequently asked about “Jackson Pollock and Glasco” in his letters to Ossorio. Between 1947 and 1949, Dubuffet took three separate trips to Algeria—a French colony at the time—in order to find further artistic inspiration. In this sense, Dubuffet is very similar to other artists such as Delacroix, Matisse, and Fromentin. However, the art that Dubuffet produced while he was there was very specific insofar as it recalled Post-War French ethnography in light of decolonization. Dubuffet was fascinated by the nomadic nature of the tribes in Algeria—he admired the ephemeral quality of their existence, in that they did not stay in any one particular area for long, and were constantly shifting. The impermanence of this kind of movement attracted Dubuffet and became a facet of art brut. In June 1948, Dubuffet, along with Jean Paulhan, Andre Breton, Charles Ratton, Michel Tapie, and Henri-Pierre Roche, officially established La Compagnie de l'art brut in Paris. This association was dedicated to the discovery, documentation and exhibition of art brut. Dubuffet later amassed his own collection of such art, including artists Aloïse Corbaz and Adolf Wölfli...

Original exhibition poster for Fast Forward: Contemporary Collections, Dallas Museum of Art. This visually arresting poster features a provocative and unexpected image characteristi...

A very good impression of this offset color lithograph poster on heavy white wove paper.

Original American Airlines World Cup ’94 vintage soccer poster. La Coupe Du Monde Aux Couleurs D’American. Bringing the World to the World Cup. Archi...

A very good impression of this scarce offset lithograph on cream wove paper. Artist's proof, aside from the edition of 100. Signed in ink, lower right, and inscribed "A/P" in pencil,...