John Alvin Furniture

A vibrant French Petite poster for Walt Disney's pioneering 1982 sci-fi adventure 'Tron.' Written and directed by Steven Lisberger, the futuristic film starred Jeff Bridges as a comp...

A large and striking silkscreen concert poster for The Stone Roses' seminal gig at the Empress Ballroom in Blackpool, England, on Saturday 12th August 1989. Following the release of their eponymous debut album in May 1989, Manchester musicians Ian Brown...

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...

Original vintage poster by Bernard Buffet May 1958.

Steven Spielberg's timeless tear jerking tale of a young boy's friendship with a stranded extraterrestrial was both widely critically acclaimed and enormously commercially successful...

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...

An action-packed Japanese B2 poster for the 1969 British crime caper "The Italian Job," starring Michael Caine as cockney criminal Charlie Croker, fresh out of prison and planning a heist in Italy. Consistently voted one of the greatest ever British movies, the quintessential sixties film has become a cult favourite and a Classic of the heist genre, while Caine's famous one-liner "You're only supposed to blow the bloody doors off!" has taken on a life of its own. Despite receiving a Golden Globe nomination for Best English-Language Foreign Film, "The Italian Job" was not a success in America at the time of its release. Caine blamed its failure on a misleading marketing Campaign, explaining to Empire magazine that the US poster "was a naked woman and me. And I said, 'This is for kids. There aren't any naked women in it! We're going to get a load of old guys coming in to see naked women and they're going to be pissed off, and mums aren't going to bring their children.' They said, 'We're not going to change the poster,' so I got on a plane and came home." While utilizing the same elements as the US poster in a more diminutive form, this superb Japanese poster places its focus on the real stars of the movie - the red, white and blue mini coopers...

An extremely rare screenprint British double crown poster for the 1960s cult classic 'The Girl on a Motorcycle,' which followed Marianne Faithfull on a psychedelic motorcycle ride ac...

A scarce and unusual 'Weekend Mirror' style teaser quad for the British release of Stanley Kubrick's 1980 modern horror masterpiece 'The Shining,' starring Jack Nicholson and Shelley Duvall. Based on the bestselling novel by Stephen King, the seminal psychological horror initially opened to mixed reviews, before growing momentum over the summer of 1980 to become an American box-office success. With anticipation building for the October 1980 British release, Warner Bros. made the canny marketing decision to reproduce a tabloid newspaper spread from the Saturday, August 30, 1980, edition of the Daily Mirror, on "the tide...

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