1980s Prints and Multiples

"Arroyo" is an original woodcut and monotype by Carol Summers. The artist signed the piece. It is from an edition of 120 and depicts an abstract landscape in blues and greens. 14 1...

"Terrasse aux Champs Elysees" is an original color lithograph by Francois Batet. The artist signed the piece in the lower right and wrote the edition number (126/200) in the lower le...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, Hommage à Aimé et Marguerite M...

Artist: (Romain De Tirtoff) Erte (Russian, 1892-1990) Title: Melisande Year: 1983 Medium: Color serigraph Paper: Arches Edition: Numbered 175/300 in pencil Image size: 22.5 ...

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

Printed by Mourlot for an Maurice Esteve exhibition held at the Neue Galerie. Esteve is well-known for his rich colors similar to the fauvist mouvement of the early 20th century. The...

AT YOUR SERVICE by the woman artist Robin Morris, is an original limited edition lithograph printed using hand lithography techniques(not a photo reproduction or digital print) on ar...

THE EXPEDITION by the woman artist Robin Morris, is an original limited edition lithograph(not a photo reproduction or digital print) printed in 15 colors using hand lithography tech...

Space Balls is a unique, trial-proof screenprint on paper, 32 x 40" sheet size, signed and numbered lower right margin ‘TP14/40 Kenny Scharf,’ and framed in a contemporary, white mou...

Bald Eagle, from Endangered Species. Screen print in colors on Lennox Museum Board. Hand signed and numbered by Andy Warhol. Edition 75/150 (there were also 30 AP's, 5 PP's, 5 EP'...

The limited edition was printed at Fine Creations Inc. and has the printer's blind stamp on the bottom right. It was published by Lincoln Center for the Performing Arts. The availab...

Marc Chagall - Summer's Dream - Original Handsigned Lithograph 1983 Printed by Mourlot Dimensions: 48 x 65 cm Handsigned in pencil Justified EA (Epreuve D'artiste, Artist proof) asi...

Eric Orr, (American 1939-1998) In Barcelona, 1989, Color lithograph, hand signed in pencil and numbered from edition of 75 sheet 30 x 22", Published by Poligrafia Eric Orr (1939–1...

Siesta  is a screen print realized by the Italian artist  Giuseppe Tampieri in 1988. Hand-signed  by the artist on the lower right. Numbered on the lower left. Edition 98/150. Very...

Duane Bryers, American (1911 - 2012) - My Favorite Hat, Year: 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 18 x 23 inches, Size: 21 in....

Chair, from Richard Heeps 'Ordinary Places', a series capturing Britain on the brink of change. It was Richard's first colour series and it achieved much success with an exhibition ...

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...

Artist: Luis Jimenez, American (1940 - 2006) Title: Fiesta (Diptych) Year: 1986 Medium: Two Lithographs on Arches, signed and numbered in pencil Edition: 76 Size: 34 x 24 in. (86.36 ...

Artist: Victor Vasarely, Hungarian (1908 - 1997) Title: Ter-Ur Year: circa 1980 Medium: Screenprint, signed and numbered in pencil Edition: From the edition of 250 Image Size: 24.5...

Richard Serra Historic Tilted Arc Defense Fund (Hand signed by Richard Serra), 1985 Offset lithograph poster from the artist's private collection Boldly signed in black marker on the...

Artist: Yaacov Agam Title: Untitled Portfolio: Vertical Orchestration Medium: Silkscreen Year: 1980 Edition: H.C. 7/18 Sheet Size: 29 5/8" x 8 3/4" Image Size: 24" x 6" Signed: Hand ...

Farnesina Garden, Rome - Vintage Postcard is a colored vintage postcard realized in the 1980s. Copyright and information on the rear. Good conditions, aged with foxing.

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...

Novello Finotti was born in 1939, in Verona, Italy where he lives and works. He is exhibiting since 1958 taking part to several art events, among which: Triennial Europeen de la Scu...

A cosmic abstract lithograph by Mexican artist, Leonardo Nierman. The print is hand-signed and numbered in pencil. Nicely framed. Abstraction 1 Leonardo Nierman, Mexican (1932) Lit...

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

Artist: Lowell Nesbitt (1933-1993) Title: Flamingos Year: 1981 Edition: 178/200, plus proofs. Medium: Silkscreen on Arches paper Size: 33.5 x 41 inches Condition: Good Inscription: S...

Howard Kanovitz Looking at Me (Signed twice with heart drawing and inscription), 1981 Colour Lambda print on vellum Pencil signed and annotated Artist Proof (AP) by artist on the fro...

This original lithograph in colours is signed in the stone at the lower right corner. It is from the edition of 70, unsigned and unnumbered impressions. This composition is the four...

This print depicts a baseball game mid-play. An umpire crouches with his hand up, and the batter stands poised. In the lower right, spectators peer onto ...

Marcel Marceau, French (1923 - 2007) - Crowd of Clowns, Portfolio: Le Troisieme Oeil (The Third Eye), Year: 1981, Medium: Lithograph on Arches Paper, signed and numbered in pencil...

This is a unique mixed media edition of 50. on handmade paper with fabric, gold and other elements. Raised and educated in New York, Pat Hammerman is an ...

Eduardo Chillida (Spain, 1924-2002) 'Bilbao – Mundial 1982', 1982 silkscreen on japanese paper 37.5 x 23.7 in. (95 x 60 cm.) Edition of 150. P/A: 25, H.C.: 50 Publisher: Maeght Unframed ID: CHI1038-010 Hand-signed by author ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

The Swiss-born Rudolf Häsler (1927-1999) lead a varied and busy artistic life, living and working in his native Switzerland, the United States, Spain, where he died, and for an exten...

Héliogravure on vélin de Rives pur chiffon paper, manufactured by Les papeteries de Rives, Voiron, France. Paper Size: 16.93 x 14.17 inches. Inscription: Signed in the plate and unnu...

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: ...

UNTITLED (INV# NP2230) Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books Ken Price (1935 - ...

Farfalla is a beautiful colored lithograph on rosaspina paper, realized in 1980 by the Italian artist, Giuseppe Giannini. Hand-signed, dated and numbered in pencil on lower margin. ...

Artist: Norman Rockwell (1894-1978) Title: Snow Sculpture Snowman Year: 1985 Edition: 350/350, plus proofs. Medium: Offset lithograph on wove paper Size: 24.5 x 18.5 inches Condition...

Paper Size: 23 x 28.75 inches Edition Size Unknown Near Mint, very light signs of handling Original Serigraph poster designed for an in-store advertising campaign printed in 1982. ...

Héliogravure on vélin de Rives pur chiffon paper, manufactured by Les papeteries de Rives, Voiron, France. Paper Size: 16.93 x 14.17 inches. Inscription: Signed in the plate and unnu...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork en...

Artist: Theo Tobiasse, French (1927 - 2012) Title: Rachel Year: 1984 Medium: Lithograph, signed and numbered in pencil Edition: 86/125 Image: 38 x 26 inches Size: 42 x 28.5 in....

''Il Casanova - il teatro de Dresda'' (Casanova in the Theatre of Dresden) 'Il Casanova–il teatro di Dresda,' is a fine art limited edition color lithograp...

Wifredo Lam Wifredo Lam Pastels: vintage Galerie Lelong poster, 1988 Offset lithograph Plate signed on the front 26 1/2 × 19 1/2 inches Unframed, unnumbered Offset lithograph poster...

Artist: Michel Delacroix (1933) Title: Le Rendezvous Year: 1988 Edition: CXXXVI/CL; 150 Arabic Numerals on Rives paper, 150 Roman Numerals on Japon paper, and 25 APs on Rives paper M...

Sam Francis, American (1923 - 1994) - The Museum of Contemporary Art, Year: circa 1985, Medium: Poster, Size: 26.5 x 35 in. (67.31 x 88.9 cm), Printer: The Litho Shop, Inc., Sa...

Paper Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Image Size: 23 x 35 inches ( 58.42 x 88.9 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

Color etching with aquatint on Rives paper. From Songes portfolio. Hand signed and numbered by Marc Chagall. Cramer 112. Published by Éditions Gérald Cramer, Geneva. Printed by Lacou...

Portrait of an Old Flyer Whirligig John Russell Clift, American (1925–1999) Date: 1980 Screenprint, signed and numbered in pencil Edition of 260 Image Size: 31.5 x 21 inches Size: 42...

This reproduction of an original 1984 cibachrome photograph, The Origin of Drawing by Dianne Blell, showcases her signature approach to staged photographic tableaux. Inspired by myth...

Artist: John Kacere, American (1920 - 1999) Title: Blue Panties Year: Circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300, HC 10 Image Size: 19 x 26 inches Size...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Antoni Tapies (Spain, 1923-2012) 'Oval i blanc', 1982 etching, aquatint, carborundum on paper Guarro Biblos 250g. 22.1 x 30 in. (56 x 76 cm.) Edition of 99 Unframed ID: TAP1162-018 H...

Keith Haring Cover Art SFMMA 1984: Published by the San Francisco Museum of Modern Art on the occasion of ‘The Human Condition SFMMA Biennial III’ 28 June-26 August 1984. Cover art created by Keith Haring specifically for the exhibit. Includes work by Jenny Holzer (reverse cover) with a foreword by Shirley Davis. An introduction by Henry T. Hopkins is followed up with essays by Dorothy Martinson, Wolfgang Max Faust, Achille Bonito Olivia, Klaus Ottman, and Edward Kienholz...

This Pablo Picasso print portrays a nude woman who has fallen asleep. The figure reclines backward toward the viewer, resting on her back. The artist's use of flowing line and the br...

Screenprint in colors, on wove paper. Stamped with the artist's estate and signed, dated and numbered by the executor, Julia Gruen, in pencil on the reverse. Artwork size 27 x 33 i...

Lithograph in colors on japon paper. Hand signed and numbered by Salvador Dali. Edition I LXIII/C. Sheet size 29.5 x 21.5 inches. Image size 23 x 15 inches. Frame size approx 34 x 24 inches. Catalogue Raisonné: Field 79-12, pp. 185. Artwork is in excellent condition. All reasonable offers will be considered. About the Artist: Salvador Dalí (Spanish, 1904–1989) was a renowned Surrealist artist known for his enigmatic paintings of dreamscapes and religious themes. The Persistence of Memory (1931), arguably his best known work, visually manifests the strangeness of time, showing clocks melting in an idyllic landscape. “One day it will have to be officially admitted that what we have christened reality is an even greater illusion than the world of dreams,” he once reflected. Born Salvador Domingo Felipe Jacinto Dalí i Domènech on May 11, 1904 in Figueres, Spain, he displayed a great aptitude for the visual arts as a teenager. Three years after his first exhibition at the age of 14, he enrolled at the Academia de San Fernando in Madrid. At school, he emulated many contemporary styles but also the works of Johannes Vermeer and Diego Velázquez. During his visits to Paris in the late 1920s, he was introduced to the Surrealist movement by René Magritte and Joan Miró. Though the concept of Surrealism was new to him, Dalí was already well versed in the psychoanalytic theories of Sigmund Freud. Dabbling in various projects throughout his long career, in 1942 he published the book The Secret...

David HOCKNEY New York Metropolitan Opera House : Tirésias Original Vintage Poster Printed in France by Imprimerie Moderne du Lion in Paris 63 x 43 cm (c. 24.8 x 16.9 inch) This poster was created for the exhibition at Galerie Claude Bernard...

Nancy Graves Nancy Graves: A Survey 1969/1980 (Hand signed and inscribed to Dick Polich of Tallix), 1980 Offset lithograph poster (hand signed, dated and inscribed) signed, dated and...