Amleto dalla Costa Prints and Multiples

**ANNUAL SUPER SALE UNTIL MAY 15TH ONLY** THIS PRICE WON'T BE REPEATED AGAIN THIS YEAR - TAKE ADVANTAGE OF IT** "America" is a unique eagle design by Mauro Oliveira. This exquisite...

Nan Goldin Lydia Lunch at the Russian Baths, 268 East 10th Street, 1985 poster, 2018 Offset lithograph poster (unsigned, unnumbered and unframed) 17 × 22 inches Published by The Kitchen in 2018, on the occasion of their Gala honoring Nan Goldin and Lydia Lunch Provenance Acquired from The Kitchen on the occasion of their 2018 Gala Also accompanied by Certificate of Guarantee from Alpha 137 Gallery Excerpt from The Kitchen description of this event: “During the late ‘80s and early ‘90s, icons Goldin and Lunch were vanguards of post-punk New York. Both women have presented their work at The Kitchen throughout the years, consistently returning to premiere new works that went on to exemplify their careers. Goldin’s portraiture of her close-knit circle of friends in New York became emblematic of her generation’s grappling with the social issues of the time, from the epidemic of drug addiction to the AIDS crisis. Lunch is revered as a radical progenitor of No Wave music, fronting the influential Teenage Jesus and the Jerks and collaborating with acts like JG Thirlwell, Birthday Party, and Sonic Youth. Lunch has a broad artistic practice, also working in film, visual art, writing, and spoken-word. Goldin and Lunch have also collaborated on numerous occasions. For instance, the cover of Lunch’s 1995 album Drowning In Limbo featured a portrait of her taken by Goldin. Lunch also posed for Goldin’s project for The Village Voice’s short-lived fashion insert Vue in 1985. Shot as part of an editorial called “Masculine/Feminine,” the image of a reclining Lunch at Russian baths in the East Village was ultimately not included in the final layout, and we were pleased to be present the image for the first time as a limited-edition print in support of The Kitchen. At The Kitchen in November 1980, Goldin presented slides as part of Dubbed in Glamour, a three-day event of “spectacle and extravagance” organized by Edit deAk that featured primarily women artists. Introduced by Cookie Mueller, who served as the master of ceremonies, these slides were an early version of Goldin’s landmark work The Ballad of Sexual Dependency, which continued to take shape during the next few years. The Bush Tetras, who performed at this year’s gala, also participated in Dubbed in Glamour. In 1994, Goldin returned to The Kitchen to premiere three slideshows for the first time in the United States as part of the winter lecture series curated by Ira Silverberg. The first slideshow developed from her 1992 award-winning book The Other Side, which lauded the drag queens she lived with and among in New York. During the ‘70s, when Goldin first moved to the city, the people she lived with became not just her subjects, but also her chosen family. The second slideshow was a series of intimate self-portraits. The evening concluded with a collection of Goldin’s images that traced her relationships to her close friends Alf Bold, Gilles Dusein, and Cookie Mueller and celebrated the joy of their lives and the pain of their deaths from AIDS. In 1985, Lunch first appeared at The Kitchen as part of the two-night screening series of experimental short films, Super 8 Motel. She and Richard Kern...

Milton Avery. Dancer, 1954. Woodcut. Signed, dated, and numbered in pencil. A fine impression, on cream wove Japan paper, with full margins (7/8 to 3 1/8 inches); in good conditio...

Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...

John Chamberlain (Hand Signed), 1988 Offset Lithograph Poster (Hand Signed by John Chamberlain) 30 × 20 inches Boldly signed on the recto in white grease marker by the artist in his ...

"Lago di Como" Photography 39" x 29.5" inch Edition of 4 by Lukas Dvorak Pigment print on Epson Fine ART paper 2009 Unframed Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak...

Elizabeth Catlett Blues, 1983 Color offset lithograph and lithograph on cream wove paper Signed, titled, dated and numbered (126/130) in graphite pencil on the front Printed and publ...

Self-portrait with Imaginary Brother is an offset and lithograph print after Willem De Kooning in 1938. The print suite was realized in 1985 in a limited edition of 2500, and curate...

Artist: After Francis Bacon (1909-1992) Title: Pope Innocent X, exhibition poster Year: 1999 Medium: Offset Lithograph on premium paper Size: 31.5 x 19.5 inches Condition: Excellent ...

Limited edition print signed and numbered 3 of 20. Dated 1978. In a contemporary black frame. Really very pretty work by this well collected British artist Geoffrey Key’s acclaimed...

Publisher GKM. Unframed. Edition of 150 ex. Signed, dated and numbered. Free shipment worldwide. Vladimir Velickovic was born in 1935 in Belgrade. He graduated from the Faculty of A...

Nobody depicted Americana quite like Mel Ramos: he is at once insolent and ecstatic in the face of this raging consumerist culture. He synthetizes artefacts with nubile women that pr...