Henry Koerner Prints and Multiples

Printed in chartreuse, dark green, bright yellow, orange, and brown, this surreal scene features a grey-walled room populated with strange machinery and a red chair. Paolozzi creates...

Original exhibition poster printed on the occasion of Jim Dine's 1971 exhibition at Kunsthalle Bern, featuring Saw, 1971. Against a sea of electric blue, Dine has written “saw” in lo...

A vibrant vintage poster in blue, pink, brown, and classic 1960's avocado green, by Scottish Pop art progenitor Eduardo Paolozzi. Machinery extends upward in two arms like a space-age car engine...

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

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

This artwork titled "Platform" 1963 is an original silkscreen by American artist Kenneth William Auvil, 1925-1999. It is signed, dated, titled and numbered 9/27 in pencil by the artist. The image size is 17 x 11.25 inches, framed size is 23.5 x 17.65 inches. Custom framed in a bronze color metal frame. It is in good condition, paper is slightly toned by age. About the artist: Educational Background University of Washington, 1953 MFA Art University of Washington, 1949 BA Art Teaching Experience San Jose State University, 1956 -1988 Selected Publications Serigraphy: Silk Screen Techniques for the Artist, Prentice‑Hall, 1965‑1996. Activities: Learning to Use the Macintosh Computer...

Chu Teh-Chun (1920-2014) or Zhu Dequn was a Chinese-French abstract painter acclaimed for his pioneering style integrating traditional Chinese painting techniques with Western abstra...

I've Left My Love Far Behind. Their Smell, Every Memento…, 2010 by Takashi Murakami Offset print, signed and numbered by the artist 26 ³/₁₆ × 18 ³/₄ in 66.5 x 47.5 cm Edition 105/30...

"De Haan Kiss" from "A Portfolio of Landscapes and Figures" offset lithograph. Image of swimmers in pool under dome. Massimo Vitali Steidl Verlag, Götting...

Bokan - camouflage pink, 2009 by Takashi Murakami Offset print, numbered and signed by the artist 19 11/16 × 19 11/16 in 50 × 50 cm Edition 71/300 About the Artist: Takashi Murakami is best known for his contemporary combination of fine art and pop culture. He uses recognizable iconography like Doraemon and cartoonish flowers and infuses it with Japanese culture. The result is a colorful body of work that takes the shape of paintings, sculptures and animations. In the 1990s, Murakami founded the Superflat movement in an attempt to expose the "shallow emptiness of Japanese consumeristic culture." The artist plays on the familiar aesthetic of mangas, Japanese-language comics, to render works that appear popular and accessible, all the while denouncing the universality and impersonality of consumer goods. Murakami has done collaborations with numerous brands and celebrities including Kanye West, Louis Vuitton...

Original Lithograph by Jean Cocteau Title: Woman Portrait Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumbered as issued

This original, vintage poster on poster stock features one of Jim Dine's most iconic motifs: the bathrobe. In 1964, Dine saw an ad in the New York Times: “The ad shows a robe with the man airbrushed out of it. There was nobody in the bathrobe, but when I saw it, it looked like me.” Standing in for the artist's own body and rife with personal meaning, it provides a framework for limitless formal and stylistic experimentation. Here, the garment is colored bright green and defined by variegated black lines. Numbers label each part of the robe as in an anatomical chart. Bold black lettering reads Jim Dine, Petersburg Press...