Poster Art

Keith Haring Tony Shafrazi Gallery New York circa 1982: Rare original Keith Haring artist biography sheet produced by Tony Shafrazi ...

Original 1942 Linen-Backed One-Sheet Movie Poster for "Ghost Town Law" The Rough Riders Series Starring Buck Jones, Tim McCoy, and Raymond Hatton. This striking original one-sheet movie poster from 1942 promotes "Ghost Town Law," the fifth entry in Monogram Pictures' popular "Rough Riders" Western film series. Measuring approximately 27 x 41 inches (standard one-sheet size), the poster features vibrant lithography on a bold yellow background, dramatic red title lettering for "The Rough Riders," and an illustrated scene of the three stars—Buck Jones, Tim McCoy, and Raymond Hatton—standing with their horses in a rugged desert landscape, guns at the ready. The artwork captures the essence of classic B-Western adventure, with the film's subtitle prominently displayed in quotes: "Ghost Town Law." Produced by Monogram Pictures and directed by Howard Bretherton, this film follows the Rough Riders trio as U.S. Marshals investigating murders in a haunted mining town overrun by outlaws, blending action, mystery, and frontier justice. Professionally linen-backed for preservation, this poster is in very good vintage condition, with minor fold restorations, light edge wear, and rich color retention, underscoring its archival quality. No major tears, pinholes, or fading are present, making it a desirable collector's piece for fans of early Hollywood Westerns or Buck Jones memorabilia. Buck Jones, a silent-era star who transitioned to talkies, tragically died in the Cocoanut Grove fire later in 1942, adding historical poignancy to posters from his final films. This example originates from the U.S. release and bears the classic Monogram logo, evoking the era of Saturday matinee serials and the golden age of cowboy cinema. History of the Origins of the Rough Riders The "Rough Riders" name draws on the legendary 1st United States Volunteer Cavalry Regiment, formed in 1898 during the Spanish-American War. Recruited by Theodore Roosevelt (then Assistant Secretary of the Navy) and initially commanded by Colonel Leonard Wood...

To see our other original vintage travel posters, many of which feature ski resorts, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poste...

Original Vintage Airline Poster commissioned by the British Overseas Airways Corporation promoting its service to the British Territory in the Atlantic ...

This powerful poster reproduces Hope and Optimism by John Muafangejo, created in 1991 at a pivotal moment in Southern African history, as the region emerged from decades of colonial ...

To see our other original vintage posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poste...

Original Vintage 1957 "Holiday on Ice" Poster. Sizew: 60" x 43.5", archival linen-backed, Grade A- condition. Capture the glamour and excitement of a bygone era with this authent...

Keith Haring Illustration art 1986: Rare seldom available 1980s Keith Haring illustrated New School university pamphlet (New York, NY) featuring offset printed Keith Haring art throughout. Solid condition. Offset printed university pamphlet. 6.25 x 4 inches (opening to 6.25 x 12 inches). Minor signs of handling. Very good overall vintage condition. Haring artwork credit on lower area of listing image 4; from an edition of unknown; published 1985/1986 by the New School (New York, NY). Keith Haring rose to prominence in 1980s New York within the East Village art scene alongside Jean-Michel Basquiat, Kenny Scharf, and Jenny Holzer. He bridged the gap between the art world and the street, graffiting city subways and sidewalks before committing to a studio practice. Haring united the appeal of cartoons with the raw energy of Art Brut artists such as Jean DuBuffet as he developed a distinct pop-graffiti aesthetic that comprised energetic, boldly outlined figures against solid or patterned backdrops. His major themes included exploitation, subjugation, drug abuse, and the threat of nuclear holocaust; Haring boldly engaged with social issues, especially after receiving an AIDS diagnosis in 1987. Today, his work sells for seven figures at auction and has been the subject of solo shows at the Brooklyn Museum, the San Francisco Museum of Modern Art, and the Albertina Museum in Vienna, among other institutions. Related Categories: Keith Haring 1986. Keith Haring prints. Keith Haring cover art. Keith Haring catalog...

“America was quick to reveal strong Art Nouveau voices; it was Louis Comfort Tiffany who encouraged Bing to open his salon, and artists Will Bradley and Ethel Reed exhibited a Japonist simplicity that presented a strong, refined take on the Art Nouveau ideal. Louis Rhead was born in England but emigrated to the United States in 1883 at the age of 24, and quickly found himself celebrated both in the United States and in France, exhibiting his designs in the prestigious Salon des Cent in Paris in 1897.” -Quoted from Flowering Lines: Rare Art Nouveau Graphics 1883-1911 by Thomas Negovan (2017) Lithograph of Louis Rhead’s Prang’s Easter Publications, published in 1897 by Imprimerie Chaix, the printing house known for publishing the works of Belle Epoque master Jules Chéret. This example was printed with a plate of shimmering gold ink. While this poster was printed in multiple sizes and formats, this 1897 edition of 25 strikes on Japon paper is the most desirable and extremely scarce edition. Japon paper allows inks to rest upon its surface rather than being absorbed by a more permeable paper stock. The rare, small format poster lithographs created at this time were printed using rich, dense, lead inks. This world-class example of lithography captures superior resolution and color-richness to that of its large-format counterpart. This artwork is presented in archival rag mat and arrives accompanied by a certificate of authenticity. Notable museum collections containing this work include: Metropolitan Museum of Art, New York City (medium-format version on paper) (1984.1202.146) Notable museum collections featuring works by John Louis...

To see our other original vintage travel posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want. Franz Weiss...

Gustav Mezey’s lithographic film poster for Hermann Wallbrück’s “social hygiene” film Schleichendes Gift (translated as Creeping Poison) shows a distressed woman encircled in the gri...

This is an original lithographic print created in the late 1960's by an anonymous artist. It features two striking lions who were part of the exciting performance that year. This i...

Discover this beautiful original lithographic poster created in 1896 by Gaston Noury, titled Pour les pauvres de France et de Russie. Published as Plate 39 in the prestigious Les Maî...

Jisbar Pop Up Your Icon Offset Print 2022 Size: 23.43 × 16.54 inches (59.5 x 42 cm) Edition: Unknown Signed and inscribed by hand Publisher: HangOver Gallery, Duesseldorf, Germany CO...

Tres Joans by Joan Miró, a 1978 color lithograph signed in the stone, created for the book presentation at Joan Prats Gallery, Barcelona. Measuring 76 x 56 cm, this piece is in excel...

ALFRED DEFOSSEZ (French, b. 1932) Éditions D’Arts J. Boulan, Paris Poster 25.125 x 29.75 in. Unframed Publishing Information: Arts Litho Paris Good Condition

Raymond Pettibon: Rare early Black Flag flyer: Original punk flyer / handbill illustrated by Raymond Pettibon for a gig by Black Flag at The Mabuhay, San Francisco, CA: Fri Oct 3, 1980. Offset-printed 11 x 8 ½ inches (28 x 21.6 cm). Fair overall vintage condition; contains age related wear and torn corners. Unsigned from an edition of unknown. Rare. Flea, the Red Hot Chili Peppers bassist once said of Pettibon's Black Flag illustrations and iconic logo: "Before I knew what Black Flag was I remember walking around Hollywood and seeing Raymond's flyers and being like, 'What the fuck is that?'… Those flyers made me feel like something is going on and it's romantic and it's mysterious and it's heavy and I don't know what it is but I wanna know." About Raymond Pettibon (Americanb. 1957) Having emerged from the Southern California DIY culture and its punk-rock sensibility, Raymond Pettibon fuses together youthful edginess and political engagement. Drawing from disparate cultural sources—from Marcel Proust to the Bible—the artist’s cartoon-inspired ink drawings on unframed paper recall the look of fanzines and concert flyers...

Hommage for Ville de Nantes Lithograph poster after Jean Cocteau Jean Cocteau was a French poet, playwright, and filmmaker known for his avant-garde works that spanned multiple art...

"Jacomo Monte-Carlo Open" is an original lithograph poster by Pierre Fix-Masseau. The artist signed the piece in the image lower right. This poster advertises a tennis competition fr...

Shepard Fairey Desmond Tutu Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 550 Signed by Shepard Fairey, dated and numbered...

Raymond Pettibon Black Flag flyer Los Angeles, 1982: Black Flag Olympic Auditorium, Los Angles, CA, Saturday July 17, 1982. Flyer/handbill for gig by Black Flag, DOA, Descendents, U...

George Dorival created this poster in 1911 to promote the comic operetta, La Divorce'e. The text describes La Divorce'e as a 3 act play with music by Leo Fall. Leo Fall (1873-1925)...

Ex Libris For Giorgio Balbi, realized by an artist of the mid-20th century.  It includes passepartout, 30 x 24 cm. Woodcut, sheet 10 x 7,5  cm. Signed on plate bottom right.  Goo...

The À travers la belle Suisse: Ligne du Saint Gothard travel poster, created by Katharina Anderegg circa 1950, captures the breathtaking beauty of Switzerland's iconic landscapes and...

The 1934 Art Deco poster for "Ouistreham Riva Bella" by the talented artist Willy Mucha is a brilliant example of interwar period design and a celebration of modern tourism. Commissi...

Prints from this series are in the Permanent Collections of Konstmuseet i Skövde in Sweden and Durham University Art Collection in the UK. Stein's Armored for Today's Events print...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

In this whimsical design created by the gifted poster artist Bernard Villemot, we see the modern day dog admiring the voice and image of his master in the television screen. In the b...

Shepard Fairey Ozzy Back to the Beginning Screen print on True White Speckletone paper Year: 2025 Size: 24 x 18 inches (60.96 x 45.72 cm) Edition: 500 Signed by Shepard Fairey, dated...

This rare original exhibition poster was created for the 1973 Arakawa show at Dayton’s Gallery 12 in Minneapolis and features distinctive stencil typography attributed to Jasper John...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Flowers is a beautiful offset print, realized in 1973 by the Italian artist Giovanni Omiccioli (Rome, 1901-1975). a poster of artist artworks exhibited in Gallery Rondanini from 1971...

"Earth Day 1991 New York City" color commemorative poster designed by well-known graphic design Seymour Chwast. Great vintage condition. Offered unframed. Ships rolled. Paper Size ...

International Folklore is a screen print and offset print on ivory-colored paper realized in the 1970s by Simone Vaulpré. Signed on the lower right. Good conditions with slight fol...

This is an original vintage poster created in the mid 1920's by an anonymous artist. It is a great wine product that this elegant deco style lady clearly enjoys with great pleasure. ...

So much has been said by experts about the joyful spirit of many vintage advertising posters and this image for Old Manada Rum is a great example of the style. Created by an anonymou...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

Risorgimento and Society is an original offset poster print realized in 1978. The artwork was realized on the occasion of the exhibition in the Museum of Palazzolo Acreide represent...

Ex Libris Sarai Kati is an original Contemporary Artwork realized in the 20th Century. Original Ex Libris. Original Colored woodcut print on ivory-colored paper. Signed in pencil ...

"The Dogs" is an original woodcut print realized by Mino Maccari (1898-1989). In Good conditions, except for very small foxing along the margins which does not affect the image. Th...

Rik Slabbinck-Poster is an original poster print. The artwork was realized on the occasion of the artist's exhibition In Paris in Galerie O. Bosc. Hand...

Poster of Stowackiego theater is an original offset print realized in 1975 for "Ulani". Signed on the lower right " M. Gorowski 75". Good conditions except for light and small cutt...

Lithograph with offset lettering Hand signed in graphite by Larry Rivers and inscribed to Al (Abram) Lerner - the Hirshhorn Museum's very first director (more about both Rivers and Lerner below) Also bears artists printed name, copyright and date (1981) A rare proof, aside from the regular edition of 400 Unframed This marvelous hand signed print was published on the occasion of a major 1981 Larry Rivers exhibition at the Hirshhorn. Forty-three works by Rivers, including paintings, sculptures, and mixed-media compositions selected from the Hirshhorn’s permanent collection, were displayed in this exhibition, among them I Like Ingres, Too; Molly and Breakfast; and the massive piece The Russian Revolution. Larry Rivers Biography (courtesy Guggenheim Museum): b. 1923, Bronx, New York; d. 2002, New York Born in August 17, 1923, and raised in the Bronx, Larry Rivers was a painter, sculptor, printmaker, poet, and musician at the crossroads of Abstract Expressionism and Pop art, who bucked prevailing trends in favor of a more singular style. The son of Ukrainian Jewish immigrants, he was known as Yitzroch Loiza (Irving) Grossberg until age 17, when a nightclub emcee announced his band as “Larry Rivers and the Mud Cats.” He adopted the name that same year. Following a brief stint in the U.S. Army, Rivers spent a year at the Juilliard School of Music studying musical theory and composition. He then pursued his only formal artistic training at Hans Hofmann’s painting school in New York from 1947 to 1948. Countering the vogue for abstraction at the time, Hofmann’s approach emphasized drawing as the foundation of all art making and presented the old masters as rich resources for creative exchange. In 1951, Rivers received a BA in art education from New York University. Proceeding from the conviction that figuration was not antithetical to modernism, Rivers completed his first major work, The Burial, in 1951, signaling the major concerns that he would return to throughout his life. With this painterly restaging of Gustave Courbet’s masterpiece A Burial at Ornans (Un enterrement à Ornans, 1849–50), Rivers began a sustained engagement with canonical paintings, imaginatively connecting contemporary art with art history. In works such as Washington Crossing the Delaware (1953), Rivers similarly mined the past for inspiration; a few years later, he began to take up more contemporary images, as in Dutch Masters and Cigars (1964), which was partly copied from a cigar box that itself depicted Rembrandt’s 1662 painting The Syndics of the Clothmakers’ Guild (De Staalmeesters). Subsequently, Rivers made several works that combine sculpture and painting, including I Like Olympia in Blackface (1970), which reverses the roles of Édouard Manet’s Olympia and her African servant. Later that decade, Rivers began appropriating his own work from the 1950s and 1960s with the series Golden Oldies (1978–79). In an interview with his close friend the poet Frank O’Hara, Rivers illuminated the premises of his approach, saying, “I think of a picture of a smorgasbord of the recognizable.”¹ Two of his largest projects adopted broad historical themes. The History of the Russian Revolution from Marx to Mayakovsky (1965), an enormous mixed-media assemblage, incorporated painted portraits, architectural cutouts, stenciled lettering, and found objects. The monumental History of Matzah: The Story of the Jews (1984–85) also used text and three-dimensional relief elements, this time to narrate Jewish history from Moses to Theodore Herzl, the founder of Zionism. Rivers’s first major survey was organized by the Rose Art Museum, Brandeis University, Waltham, Massachusetts, in 1965; it traveled to the Pasadena Art Museum; Jewish Museum, New York; Detroit Institute of Arts; and Minneapolis Institute of Arts. A retrospective of his paintings and drawings opened at the Butler Institute of American Art, Youngstown, Ohio, in 1990, and toured the United States for a further two years, with stops in the Norton Gallery of Art, West Palm Beach, Florida; Fort Wayne Museum of Art, Indiana; Scottsdale Center for the Arts, Arizona; and J. B. Speed Art Museum, Louisville, Kentucky. In 1997, the Philharmonic Center for the Arts, Naples, Florida, staged a retrospective of the works Rivers made between 1980 and 1997. His most comprehensive retrospective to date was at the Corcoran Gallery of Art in Washington, D.C., in 2002. Rivers continued painting up until three months before his death in Southampton, New York, on August 14, 2002. More about Al (Abram) Lerner – the Hirshhorn’s first director First director of the Hirshhorn Museum and Sculpture Garden, 1974-1984. Lerner was the son of Lower East Side Manhattan immigrants, Hyman Lerner, a garment presser, and Sarah Becker...

1990s Keith Haring exhibition poster: Original Exhibition poster for Keith Haring at San Francisco Museum of Modern Art, May 08-September 08, 1998; an exhibit which featured a complete retrospective of Haring's work, from his childhood doodles and early New York subway drawings to large-scale paintings during his final years. Off-set lithograph on heavy wove paper. 24 x 36 inches. Unsigned from an edition of unknown. Bright, vibrant colors. Some minor signs of handling; otherwise very good overall. Contains trademark of Haring Estate on lower center edge. Further Background: Image featured in this poster is Haring's, "Drawing for Headstand 1988. De Young Museum's regarding Haring's symbolism here: "Human figures depicted upside-down are usually B-boys and B-girls, the dancers of hip-hop, doing the iconic move in which they spin on their head. Figures contorting in backbends or jumps are probably also depictions of break dancers." Haring’s work has long been a part of San Francisco’s visual culture. He created works for diverse venues in San Francisco during his lifetime, including murals for DV8, a club once located in the South of Market neighborhood, and a huge, multi-panel painting for the South of Market Childcare Center (also known as the Saint Patrick's Daycare Center). Haring’s outdoor sculpture Untitled (Three Dancing Figures) (1989), located at Third and Howard Streets, is a prominent feature of Moscone Convention Center, and his triptych altarpiece The Life of Christ (1990) is installed in the AIDS Chapel at Grace Cathedral...

Lithograph from the 1954 book The Posters of Toulouse-Lautrec, printed by Mourlot Frères in Paris. This masterful reproduction captures one of Lautrec’s rare multi-color, single-pass...

Original U.S. one-sheet film poster for Bus Stop, issued by 20th Century-Fox in 1956, directed by Joshua Logan and starring Marilyn Monroe in one of her most critically regarded perf...

Original first edition movie poster designed by Andy Warhol for Querelle, Rainer Werner Fassbinder’s final feature film — now regarded as one of the defining queer cinema cult classi...

A portion of each sale will be donated to the ACLU + NAACP JoAnne Artman Gallery proudly introduces America Martin’s new series I See Heroes Everywhere. Addressing the theme of her...

The 1949 original travel poster by Guerra for Air France, titled "Paris is two thousand years old," stands as a captivating invitation to explore the rich history and timeless allure...

Maîtres de l'Affiche (Masters of the Poster) refers to 256 color lithographic plates used to create an art publication during the Belle Époque in Paris, France. The collection, repro...

Magritte's original poster for the 1965 Salon de Mai is an iconic piece of art that reflects the ingenuity and surrealist aesthetic of renowned Belgian artist René Magritte. Created ...

A dazzling celebration of Parisian nightlife, Bravissimo – La Nouvelle Revue du Lido captures the glamour, spectacle, and theatrical energy of one of the world’s most iconic cabarets...

Keith Haring at Area Nightclub, New York, 1986: Rare vintage 1986 announcement for a Splash Magazine event at the historic 1980s New York Area nightclub...

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The...

From edition of 250. Note: We do not ship pieces uninsured. We require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reliable handling. While st...

Before You can Entertain Others... You Must First Learn to Entertain Yourself by David Shrigley 14 colour screenprint with a varnish overlay 75 x 56 cm Edition 40 of 125 Signed, date...

Scarce, original offset lithograph poster published on the occasion of the Pin-up Exhibition for the Alex Rosenberg Gallery December 1980- January 1981. DESIGN - Marshall Berland Poi...

Artist: Fernand Leger Medium: Lithographic Poster, 1958 Dimensions: 34 x 23 in, 65cm x 90cm Classic Poster Paper - Good Condition A This vivid lithographic poster in seven colors...

Marilyn 3 by Mimmo Rotella, Italian (1918–2006) Date: 1979 Screenprint, signed and numbered in pencil Edition of 300 Image Size: 26.5 x 20 inches Size: 30 x 24 in. (76.2 x 60.96 cm) ...