Late 20th Century Prints and Multiples

Original vintage poster: 24 Heures du Mans; 10-11 Juni 1978; Automobile Club De L'Ouest. Artist: Lardrot. Linen backed French vintage automotive racing poster. Event: 24 Heu...

Twentieth Century Limited Edition Screen Print entitled Vaux-Le-Vicomte, depicting a beautiful French Chateau. Vaux-le-Vicomte a Screenprint by another of Wales's most famous sons...

Artist: Sylvia Roth Title: The Emperor Year: circa 1980 Medium: Etching with Aquatint, signed in pencil Edition: AP Image Size: 23.5 x 22 inches Size: 34 x 28.5 inches

The circa 1970 original poster by René Gruau for Federico Fellini's La Dolce Vita (1960) is a masterpiece of cinematic art and graphic design, capturing the allure and decadence of o...

Bibliography: The work appears reviewed in the catalog raisonné: Miró Litografo V, 1972 – 1975 . Maeght Éditeur. Patrick Cramer. Page 50. Reference number 913. Technical details of ...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

"Homage to the Square - Portfolio 2, Folder 24, Image 2" from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 origin...

"Serie 23 no. 14-4" 1971 Serigraph in color Edition 157 of 200 30 x 30 in Julio Le Parc is an Argentinian artist best known for his pioneering works of Kinetic Art. Depicting lab...

Signed lower right, 'Morihiro Sato' (Japanese, born 1943), with artist chop mark, and dated 1985; titled, lower left, in English and Kanji 'Cherry Trees (Dusk)' with number and limitation, '3/55'. Paper dimensions: 24.25 x 35.5 inches A fresh and unfaded woodblock print showing a view of cherry tree boughs heavy with glowing blossoms before a vista of rolling hills with stylized Japanese pine beneath a luminous, golden sunset. Morihiro Sato graduated from Musashino College of Fine Art before studying under the printmaker Joichi Hoshi (1913-1979). Sato’s work focuses on the beauty of nature, particularly that of trees. Through the medium of woodblock with inclusion of metallic pigments, his delicately atmospheric prints evoke a sense of gentle sense of wonder. *With thanks to Ronin Gallery

Henry Moore - Original Lithograph 1977 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Considered a major force in the op art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric ...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Titles: Male Nude 3 Year: 1979 Medium: Lithograph, signed and numbered in pencil Edition: 175 Paper Size: 44 x 30 in. (111.76 ...

Duke Ellington Jazz Music Legend African American Grammys NY Times Published Al Hirschfeld (1903 – 2003) Duke Ellington Sight Size: 12 x 12 1/4 inches Etching with aquatint Signed ...

’Tall trees’ By Jamie Boyd Medium - Lithograph Edition - AP Signed - Yes Size - 635mm x 870mm Date - c1975 Condition - Good. 9 out of 10. Colour of print m...

ROBERTO MATTA (1911-2002) FOG, GOG, AND MAGOG 1971 Color lithograph. Plate 1 from “Fog Gog, and Magog” 1971. Signed in pencil and numbered. This work is number 92 from the edition o...

Thomas W. Benton, American (1930 - 2007) - Blue Knight, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 250, Image Size: 32 x 32 inches, Size: 35 in. x ...

Title: Picasso: Un Billet Pur la Glorie Year: 1974 Medium: Engraving on Arches paper Edition: F.122/195, plus proofs Size: 25.75 x 19.75 inches Condition: Good Inscription: Signed an...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Joan Miró Lithographs, Volume I, 1972....

Sightseeing is one of a group of ten prints which the artist made at Petersburg Press in 1972, each based on one of his paintings. Rosenquist’s Sightseeing 1962 oil painting on canva...

Tadashi Kawamata Untitled for the Relocation Project, Serpentine Gallery, London, 1997 Screenprint on wove paper Pencil signed, dated '97 and numbered 169/180. 34 1/2 × 24 3/4 inches...

Robert Longo Men In The Cities album cover art: A rare highly sought-after 1981 record art cover featuring original artwork by Robert Longo on...

ANDY WARHOL (1928-1987) Andy Warhol's 'Cow' (F&S.II.11A) is a 1971 screenprint, on wallpaper with trimmed margins. This unsigned print comes from a publication of an unknown size (aside from approx. 100 signed impressions), printed by Bill Miller...

This poster features Andrew Wyeth's *Karl's Room*, an intimate and evocative work that captures the quiet, poignant atmosphere of a personal space. Presented in collaboration with th...

For Alberti, For Spain! is an artwork realized by Joan Mirò in 1975. Etching and aquatint, 90 x 66 cm. Hand signed. Edition 64/90. Reference: Dupin 926. Printed on Fabriano paper, ...

Lithograph on vélin d’Arches paper. Inscription: Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the folio, Maravillas con variaciones acrósticas en el Jar...

Alan Shields Untitled mixed media geometric abstraction collage, ca. 1979 Etching and aquatint in colors with collage Pencil signed and numbered 15...

Paper Size: 30 x 22 inches ( 76.2 x 55.88 cm ) Image Size: 11.75 x 18 inches ( 29.845 x 45.72 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional ...

Alex Katz Ada in Hat, from Alex And Ada, The 1960's To The 1980's, 1990 Screenprint in colors, on Arches paper Hand signed and numbered "97/150" in pencil by the artist on the fro...

This signed and numbered lithograph on Japon paper is from a portfolio of 17 prints by Modern artist Karel Appel. He admired the domestic house cat for its aloof, yet instinctive, de...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

Joan Miró Miro, L'oeuvre Graphique, 1974 Offset lithograph poster Unsigned Unnumbered 28 1/5 × 21 1/2 inches Unframed Published by the Musee d'Art Moderne de la Ville de Paris

This Blue Dog work consists of a blue dog in the middle of a red, white, and blue background. The dog is wearing a yellow neckerchief and a large black western hat with gold trim on ...

STANDING NUDE DARK HAIR is a signed original etching by Raphael Soyer, the renowned Russian-born American realist painter, draftsman, and printmaker. Printed on archival printmaking ...

Guillaume Corneille Complicite 1980 Print, Signed Lithograph on wove paper 25½ x 19½ " inches Signed in pencil and dated Cat added  by artist As a co-founder of the famed experimen...

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

Sonia DELAUNAY Rio Spinning Dress Lithograph after a painting Printed signature in the plate Numbered /600 On Arches vellum 40 x 30 cm (c. 15.7 x 11.8 in) ArtCurial edition, 1994 ...

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...

This artwork "Wildcat" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered from the edition of 750 in pencil by the art...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Ladies and Gentlemen is a colored screen print realized in 1975 by the Pop artist Andy Warhol.  Reference: Feldman-Schellmann, II.126. Monogrammed in pencil lower right and editio...

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...

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...

Medium: original lithograph. Catalogue reference: Galfetti 408a. Executed for Derriere le Miroir (issue No. 210) in 1974, and published in Paris by Maeght. Size: 15 x 11 inches (380 ...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

Eduardo CHILLIDA (after) Abstraction in Black Lithograph Printed signature in the plate On kraft paper 81 x 55,5 cm (c. 32 x 22 in) Excellent condition

An original silkscreen poster "avant le lettre" by Victor Vasarely for an exhbition at Editions Lahumiere, Paris.

Knox Martin Untitled Offset lithograph Year: 1977 Size: 21 x 14 in Edition: 1,500 Signed in the plate Publisher: HMK Fine Arts, New York COA provided Ref.: 924802-924 Knox Martin (born February 12, 1923) is an American painter, sculptor and muralist. Born in Barranquilla, Colombia, he studied at the Art Students League of New York from 1946 till 1950. He is one of the leading members of the New York School of artists and writers. He lives and works in New York City. Collections: Martin's work is included in the collections of Whitney Museum of American Art,[15] Museum of Modern Art,[16] Hirshhorn Museum and Sculpture Garden,[17] Art Students League of New York, Brooklyn Museum of Art, National Academy of Design,[18] National Arts Club, New York University, Addison Gallery of American Art, Albright-Knox Art Gallery, Art Institute of Chicago, Art Museum of Southeast Texas, Baltimore Museum of Art, Berkeley Art Museum, Blanton Museum of Art, Boca Raton Museum of Art, Chrysler Museum of Art, Corcoran Gallery of Art, Dallas Museum of Art, Davis Museum at Wellesley College, Denver Art Museum, Hand Art Center, Herbert F. Johnson Museum of Art, Heckscher Museum of Art, Hofstra University Museum, Indianapolis Museum of Art,[19] Ithaca Museum, Lowe Art Museum, George Washington University, Montclair Art Museum, Minneapolis Institute of Arts,[20] Newark Museum, Oklahoma City Museum of Art, Portland Art Museum, Provincetown Art Association and Museum,[21] Reading Public Museum, Southern Alleghenies Museum of Art, Springfield Art Museum, The Museum of Fine Arts, Houston,[22] Toledo Museum of Art, University of Kentucky Art...

Medium: lithograph (after the collage). Printed in 1971 for XXe Siecle (No. 37) and published in Paris by San Lazzaro. Size: 12 1/8 x 9 1/2 inches (308 x 240 mm). Signed in the plate...

Lichtenstein Exhibition Poster is a very colorful poster realized in occasion of the artist's exhibition at Leo Castelli Gallery New Yor...

Victor VASARELY (1908-1997) - Zither Serigraphy on cardboard with silver background in relief signed lower right Height: 60 cm - Width: 40 cm 1973 900€

This poster, titled Interiors, was created by Richard Hamilton to advertise his exhibition at Galerie Maeght, held from January 22 to March 6, 1981, at 14 rue de Teheran, Paris, Fran...

April Gornik Remember the Sabbath Day (The Fourth Commandment), 1987 2 Color Lithograph on Dieu Donne handmade paper with deckled edges 24 × 18 inches Signed and numbered AP 12/15, a...

Keith Haring, Andy Warhol 1986: Rare, highly sought-after oversized 1986 folding announcement card / poster illustrated by Keith Haring & Andy Warhol ...

This Blue Dog work consists of a white background with 1 blue dog surround by varying degrees of blue dog heads and a single dog in the center. "Rodrigue" is printed at the bottom. ...

Blue Composition in a screenprint realized by Victor Debach in 1970s. 50x70 cm. Limited edition of 100. Handsigned in pencil on the right lower margin. Excellent condition.

"For Adults Only I" is an exquisite offset lithograph print with colors of an alluring corseted and stockinged nude female in a confrontational pose filling the frame inviting the vi...

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

"Departure #6" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Departure #6" by Jim Crabb (American, b. 1947). This piece resembles a surreal lands...