1980s Prints and Multiples

Lithograph on grand vélin d'Arches pur chiffon spécialement fabriqués paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Œdipe ...

Artist: Erté Title: Freedom and Captivity Year: 1982 Medium: Serigraph with Foil Stamping, Signed and Numbered in Pencil Edition: AP 57/70 Image Size: 25.5 x 18 inches Size: 32.75 x...

Night Chanters, black and white framed lithograph, kachina, limited edition 100 The Gallery Wall, Inc. now doing business as Glenn Green Galleri...

Medium: original lithograph. Executed in 1982 for what was planned to have been the very last issue of Derrière le Miroir (issue No. 250), and published in Paris by the Maeght atelie...

Screen print in colors on paper. Hand signed and numbered by Ronnie Cutrone. From the edition of 150. Certificate of Authenticity included. Please do not hesitate to ask us any further questions. All reasonable offers will be considered. Please note our gallery has more than 1 of this artwork in stock and the exact edition number you may receive may be different than pictured. About the artist: Ronnie Cutrone (American, b.1948) is a Pop artist renowned for his vibrant, satirical paintings...

John Baeder Berkshire Diner - 1980 Print - Serigraph on Somerset paper Paper Size - 30'' x 22'' in. Edition: Signed in pencil and marked from the edition of 250 John Baeder's calcula...

NEW DECO by the woman artist Robin Morris, is an original handmade limited edition lithograph printed using hand lithography techniques on archival Arches paper, 100% acid free. NEW ...

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...

Blue composition is an original contemporary artwork realizedby Otto Hofmann in 1989. Mixed colored screen print. Hand signed on the lower right margin. Numbered on the lower left...

This is an assortment of 4 Posters by Andy Warhol, each piece described as follows: Andy Warhol - Queen Ntombi Twala Of Swaziland - 1986 Offset Lithograph 32.5" x 23.5" Unsigned Of...

Keith Haring Pop Shop Bags set of 2, 1986: Vintage original 1980s Keith Haring Pop Shop bag set designed & illustrated by the artist. Both feature a bold Keith Haring printed signature and standout original Haring Pop shop logos, plus bright, lush colors which make for a unique framepiece. Medium: silkscreened vinyl shopping bags (2 individual pieces). Dimensions: 19 x 16.75 inches inches (applies to each individually). Minor wear commensurate with age & medium; in otherwise good vintage condition. A very cool vintage original Keith Haring frame set. Keith Haring Pop Shop: In 1986, New York artist Keith Haring opened the Pop Shop in downtown Manhattan. Haring saw the Pop Shop as an extension of his work, a fun boutique where his art could be accessible to everyone. For nearly twenty years, the shop continued to be a downtown attraction with floor-to-ceiling murals...

Lena Horne Film Broadway Star African American 20th Century Litho NYT Published Al Hirschfeld (1903-2003) "Lena Horne" Hand-signed Limited Edition Etching, 56/200 Sight size 14 1/2 ...

Roy Lichtenstein Two Paintings: Dagwood, 1984 is a vivid, colorful piece that demonstrates the clever work of Lichtenstein’s varied oeuvre. The work is c...

Marc Chagall (1887-1985) Les Lilas, 1980 Original lithograph Signed in pencil Numbered out of 50 copies (4/50) On Arches vellum, 116 x 75 cm (c. 46 x 30 in) INFORMATION: Published by Galerie Maeght REFERENCE: Mourlot Catalogue Raisonné...

The 1986 Roland Garros poster by Jiří Kolář is a complex and innovative work that captures the energy and dynamism of the French Open through the medium of collage. Kolář’s use of fr...

Walasse Ting Red Horse – 1981 Print – Lithograph on Arches Paper 17.5” x 23.5” Edition: H.C. signed Hors d'Commerce Walasse Ting was a Chinese-American vi...

Le Corbusier (Charles-Édouard Jeanneret, called) Presence (Man with Bull and Animals) Original vintage poster (offset print) With the printed signature in the plate On wove paper 50...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, La mélodie acide, 14 lithographies originales de Joan Miró, 1980. Published...

T Grey Up Side Down is 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...

Serge LASSUS (1933-) Horses : Riders and Flaming Forest, 1983 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm ...

Vintage 1984 Kenny Scharf Exhibition Poster: Original Kenny Scharf illustrated exhibition poster published by Tony Shafrazi Gallery in conjunction with the Fun Gallery, New York, NY 1984. Fun, cool, vibrant original 1980s pop art without breaking the bank. Medium: Offset Lithograph, 1984. Dimensions: 23 x 24.75 inches (folded open). Condition: Fold-lines as issued; good overall vintage condition. Muralist, painter, sculptor, and installation artist Kenny Scharf (American, b. 1958) is best known for his fantastical, large-scale paintings of anthropomorphic animals...

Artist: Mark Sabin Title: Noah's Ark - 1980 Medium: Screenprint on Somerset Paper 34'' x 26'' Edition: Signed in pencil, titled, dated and marked 203/250 image size : 31" x 23.25" inches Mark Sabin is a fantasy painter, blending elements in a juxtaposition that surprises the audience. Sabin is quoted describing his work as "unconscious dictation." Sabin’s paintings are in various collections including the Museum of American Folk Art in New York City. His works have appeared on magazine covers, record jackets, and brochures. The artist is a graduate of the University of Michigan and Columbia University School of Law. He attended New York University...

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...

Artist: Roger Mühl Medium: Original Lithograph, signed and numbered, 1986 Dimensions: 12.5 x 16.5 in, 41.9 x 31.8 cm Arches Paper - Perfect Condition A+ ...

Jean-Claude PICOT (1933-) French Riviera : The Provençal Market, 1982 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Coated pap...

This vintage lithographic reproduction commemorates the iconic Monaco Grand Prix race of 1955, designed by Jean Ramel. Renowned for its stunning coastal views and challenging circuit...

GREEN HORSE, TWO GEISHAS is an original lithograph printed using hand drawn lithography techniques on archival Somerset printmaking paper, 100% acid free, by the renowned Chinese born artist Walasse Ting (DING XIONGQUAN, Chinese, 1929-2010). Ting's use of bold colors and expressive calligraphic brush drawn forms convey vivid life energy. He is well known for his colorful images of women, flowers, fish, parrots and horses and was associated with artists Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group called COBRA. Throughout his artistic life, Ting imbued his passion and spirit into his paintings, poetry and sculpture. GREEN HORSE, TWO GEISHAS is a freely expressed Chinese Ink Brush drawing depicting a colorful bright green horse with dark blue mane and tail standing with two lovely dark green haired Asian women...

Jose 1986 Color lithograph 23/30 23 × 34 in 58.4 × 86.4 cm. Luis Jimenez 1940 - 2006 Luis Jiménez was born in El Paso, Texas on July 30, 1940. He is the son of an illegal immigra...

Andy Mouse is a significant work by Keith Haring, created in 1986 as both a homage to Andy Warhol and a bold commentary on consumer culture. Blending Warhol’s iconic image with Micke...

Medium: original lithograph. Printed in 1982 for the art revue Derriere le Miroir (issue number 250), and published in Paris by Maeght. Image size: 15 x 12 1/4 inches (380 x 310 mm)....

This large scale, ethereal portrait depicts a tranquil male nude figure floating in pink and blue. Based on a tempera painting, an expressionist, emotive piece to bring dramatic impa...

Joan Miró La Mélodie Acide - 8 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...

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: ...

This is an engaging multiple artwork by the Italian artist Robert Nanut, a talented artist of 1980’. This is a multiple of numbered edition of 1.000 pieces. This artwork was made in 1980 but it can be considered new cause remained since now stored and packed in the Editor warehouse. The bronze sculpture is completed by the certificate of authenticity, there is the number assigned to the piece and the original signature of the author. Roberto Nanut...

Artist: John Cedarstrom Title: Water Lily Flower Year: circa 1980 Medium: Serigraph, signed in pencil Edition: AP Paper Size: 23 x 31.5 inches

Original Mudd Club street poster 1979: A must have for any true Jean-Michel Basquiat, & Keith Haring collector! The Mudd Club was the first venue where ...

Publisher GKM. Unframed. Edition of 150 ex. Signed and numbered. Free shipment worldwide. Arman wrote, “The bow on the strings releases an explosion of sounds,” in the book Trio à ...

This striking 1982 vintage poster, designed by Razzia, was created to promote the Paris Posters exhibition at the Musée de l’Affiche et de la Publicité during the summer (Été 82). Featuring a bold and graphic collage-style composition, the artwork embodies the dynamic energy of 1980s design. Razzia, a renowned French graphic artist, is celebrated for his iconic Art Deco-inspired poster designs with a modern twist. In this piece, he juxtaposes a stylized black-and-white Eiffel Tower, a monochrome portrait of a woman, and an accordion transformed into the Arc de Triomphe, all set against a dramatic black background with vivid color accents. The use of cutout-style imagery and neon-inspired typography reflects the postmodern aesthetic of the early 1980s, capturing the bold creativity of the era. The vibrant contrast of yellow, red, and blue highlights adds to the poster’s visual impact, making it a standout example of contemporary French graphic design. A rare and collectible piece, this original Razzia poster...

Ted Jeremenko, Yugoslavian/American (1938 - ) - Orient Point. Year: circa 1985, Medium: Screenprint, signed and numbered in pencil, Edition: 175, Image Size: 21 x 34 inches, Size: 30...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of American abstract painters that radically defined abstraction and...

James Rizzi Lithograph 3d In excellent condition measures 21x19 International buyers must cover shipping charges

White Swan Max Epstein, Canadian (1932–2002) Date: 1980 Screenprint, signed in pencil Edition of 99, AP Image Size: 19 x 28 inches Size: 23 in. x 35 in. (58...

Paper Size: 39.5 x 26 inches ( 100.33 x 66.04 cm ) Image Size: 39.5 x 26 inches ( 100.33 x 66.04 cm ) Framed: No Condition: B-: Good Condition, Signs of Handling and Age Supplemental...

Serigraph Silkscreen on Arches paper, hand signed and numbered in pencil. Theodore Jeremenko was born in Yugoslavia in 1938. When he was twelve, Ted and his family moved to the Un...

Artist: Fritz Scholder (Native American, 1937-2005) Title: "ASU Portrait II" Portfolio: Arizona State University Centennial Portfolio *Signed by Scholder in pencil lower right Year: 1984 Medium: Original Lithograph on Arches Cover buff paper Limited edition: 49/100 Printer: Joseph M. Segura of the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Publisher: the Print Research Facility, School of Art, Arizona State University, Tempe, AZ Reference: "Collaborative Works: Recent Work and Catalogue Raisonné of the Visual Arts Research Institute" - ASU/VARI No. 121, page 98 Sheet size: 20.25" x 15" Condition: Never framed, has been professionally stored away within its original portfolio case for decades. In mint condition Not a single example of this work has ever appeared at auction in over 40 years. Extremely rare Notes: Provenance: one owner ever - private collection - Scottsville, AZ; acquired directly from the publisher the Print Research Facility, School of Art, Arizona State University, Tempe, AZ upon its release in 1984. Numbered by Scholder in pencil lower left. Comes from the 1984 "Arizona State University Centennial Portfolio" of eighteen prints in various mediums by Daniel R Britton, R. E. (Ron) Gasowski, Arthur W. Hahn, James Hajicek, Jules Heller...

Art Sz: 15 3/4"H x 19 3/4"W Frame Sz: 25"H x 28 1/2"W Limited edition copy number 626/ 2400 Pencil signed LL by the artist Blindstamp LR: The Wildlife Legislative Fund of America Larry Hayden is a visual artist whose drawings and photographs reflect his fascination with his domestic environment and its feathered inhabitants. An ongoing series of photographs spanning nearly five years show him to be an animalier; his subject is his small flock of laying hens who share with him a picturesque 19th century Maine farm that once covered one hundred thirty acres, and whose Northern edge was the Presumpscot River. Now reduced to a bit less than one acre and surrounded by residential Portland, it is this little world that is the core subject of Larry’s work. His photographs; paintings; and drawings are in respected collections including the Portland Museum of Art; Bates College Art Museum; the Colby Museum of Art; The Farnsworth Museum; the Fine Art Collection of William and Hobart Smith Colleges, and the University of New England Art Gallery, as well as distinguished corporate, institutional, and private collections. Larry’s work has been included in many publications including Design Language, 2006, Tim McCreight, Brynmorgen Press; Abstract Art, Dean Nimmer...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, La mélodie acide, 14 lithographies originales de Joan Miró, 1980. Published...

Willow Brook Road by Ronald Julius Christensen, American (1923–1999) Date: 1980 Lithograph, signed and numbered in pencil Edition of 295 Size: 27 x 39 in. (68.58 x 99.06 cm) This en...

Serigraphy and collage of elements on Lucio del Pezzo hand-painted hand-made paper. Graphic work created in the 80s in 50 numbered copies signed by the artist.  The sheet is in perfe...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

An abstract, black and white lithograph contained in an interesting shape enclosed by clean negative space. Signed L. Siekman, titled Jupiter Four and numbered 9/10. It is part of a ...

This exhibition poster, titled Detail from Cubistic Bar, was designed by David Hockney for a 1982 exhibition of his work held at the City of London Barbican Centre for the Arts. The ...

Paper Size: 35 x 24 inches ( 88.9 x 60.96 cm ) Image Size: 35 x 24 inches ( 88.9 x 60.96 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipping and Handlin...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork entirely made in France: from th...

Artist Name: Philippe Noyer Title: Le Singe: Medium Type: Lithograph Size-Width Size-Height: 35" x 25" Signed Edition Size: signed in pencil and marked EA XVII/XXX Unframed in...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...

Burin engraving on Magnani-Pescia paper. Paper size 39cmx29,5cm, work size 22cmx17,5cm. Excellent condition, no defects. OSSI CZINNER - Central European artist, graphic designer and...