Offset Figurative Prints

Original SHALAKO vintage movie poster, 1sheet, 1968 great art of Sean Connery as Shalako, sexy Brigitte Bardot! This collectible poster, printed in 1968 to promote the theatrical re...

Richard Prince It's a Free Concert (Hand Signed by Richard Prince), 2014 Offset Lithograph (hand signed by Richard Prince) Hand signed by the artist on the front Unnumbered 33 × 23 3...

Tracey Emin Strangeland (Hand signed, dated and inscribed by Tracey Emin), 2005 Hardback monograph with dust jacket (hand signed, dated and inscribed for Ann by Tracey Emin) Hand sig...

I Castelli Romani  is a splendid poster realized by Neal Slavin, in 1983, for the exhibition held in Rondanini Gallery in Rome. Offset print, in very good conditions.

Philip Treacy hardback book (hand signed by Philip Treacy), 2013 Hardback monograph with dust jacket (hand signed by legendary milliner Philip Treacy) hand signed by Philip Treacy on the half title page 11 × 8 1/2 × 1 inches Hand signed by Philip Treacy on the half title page. Book information: Publisher: Phaidon Press (February 5, 2013) English; Hardcover; 200 pages with over 200 photographs Review "Lovely... All the most iconic designs are here."―The Observer "How did one man change our minds on headgear? Philip Treacy by Kevin Davies celebrates [...] backroom moments of Treacy's career, no less striking than the headpieces he creates... The unseen stories behind all the 'moments'."―The Independent "An usually revealing insight into the designer's work."―Harper's Bazaar "Revealing [...] photos of Treacy at work. He looks determined and serious, but he has a kind face and he's never a poseur... In short, this is a cool book about a great guy."―VICE "The head-topper extraordinaire gets a tip of the cap in the new book... Featuring over 200 images of the milliner's museum-quality lids, including head-turning snaps of mega-fierce singer and Bond villainess Grace Jones."―InStyle "Inside the pages are 200 intimate pictures covering everything from Treacy's years at 69 Elizabeth Street to the scene backstage at fashion shows to the dignified funeral held for Treacy's beloved Jack Russell terrier, Mr. Pig."―The New York Times Style Magazine blog More about Philip Tracey...

Original Fortune Magazine 1938 vintage cover. Archival linen backed in very fine condition; ready to frame. Artist: Miguel Covarrubias (1904 – 1957) This is an Original Letter Press...

Original 1976 July 4th in Old New York vintage Bicentennial festival vintage poster. The poster is copyrighted by Macy’s New York. Artists were: Griesbach and Martucci. Arc...

This is a true collectible! The regular edition of only 100 is hand signed and numbered by Larry Rivers; but the present work is ALSO hand signed and inscribed by George McGovern- a ...

Vue du Capitole is a print realized after Godefroy Engelmann in the 1970s. Signed on the plate Offset on paper Good condition with slight foxing.

Une Etoile est Nee or ‘A Star is Born’. This poster is Belgian. Original 1954 Belgian movie poster art is some of the best. Original Belgian Releas...

Jasper Johns "Jasper Johns Paintings", vintage Leo Castelli Gallery poster, 1984 Offset lithograph Unsigned Unnumbered 30 × 22 1/2 inches Unframed Offset lithograph poster published...

Title: OPSAIL Year: 2000 Medium: Offset lithograph in colors on gloss archival paper Size: 36 x 24 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as issued Notes...

Title: Chanel Year: 1997 Medium: Offset lithograph on archival paper mounted on canvas Size: 29 x 22 inches Condition: Excellent Inscription: Signed in the plate Notes: This special ...

Original World War 2 Fire Away! Buy Extra Bonds. Linen backed. Color poster of two sailors on a Navy ship at sea. One sailor uses a searchlight, and the other is looking through binoculars. The sailors wear blue jackets and knitted "watch caps". A U.S. flag can be seen on the ship deck below. "In memory, U.S.S. Dorado"--At the upper left corner of the picture. Logo near the bottom of the poster: "5th 'V' War Loan". Artist George Schrieber (1904-1977) designed this war bond poster after the U.S.S. Dorado, a Gato-class submarine, was sunk off the coast of Cuba by a German land mine. Georges Schreiber (1904-1977) commemorates the sinking of the USS Dorado submarine in this 1944 War Bonds poster entitled Fire Away for the Fifth War Loan. Schreiber sailed aboard the ship in the summer of 1943 and had a personal connection to the tragedy. USS Dorado (SS-248) was a Gato-class submarine. Her keel was laid down on 27 August 1942 by the Electric Boat Company of Groton, Connecticut and was commissioned on 28 August 1943 under the command of Lieutenant Commander Earle Caffrey Schneider. The USS Dorado sailed for the Panama Canal for use in the East Asia war effort. The submarine was sunk off the coast of Cuba due to a minefield left by a German-Nazi U Boat. This is an Original Vintage Poster; it is not a reproduction. "U.S. Government Printing Office: 1944-O-581636". "WFD 908-A" USS Eldorado (AGC-11) was named after a mountain range in Nevada. The ship was designed as an amphibious force flagship, a floating command post...

The print is Diasec® framed. This mean the print is mounted between acrylic glass (UV-resistant) and a dibond (aluminum) backside, with an attached frame for easy hanging. Depth of t...

Still Life is a Photolithograph print, reproducing the original watercolor by Giorgio Morandi created in 1932. The signature by the artist is perfectly reproduced on the plate and d...

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...

(After) Francis Bacon Study for a corrida Poster, 1995 Printed and published by Maeght Size 86 x 50 cm (c. 33,8 x 19,7 in) Mint condition

Title: Berlin Love Year: 1993 Medium: Offset lithograph in colors on gloss archival paper Size: 33 x 23.13 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as issu...

Original WWII vintage poster: The United Nations Fight for Freedom. Featuring flags from around the world. Note that this poster was created earlier than the foundation of the U...

Figure is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini ( Italian Painter, 1909-1981), in the 1970s. The state of preservation of the artwork is excel...

Title: Lotta Love Year: 1998 Medium: Offset lithograph in colors on gloss archival paper Size: 36 x 24 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as issued Notes: Published and printed by Via Max, Inc., New York, 1998. Policy: We officially represent the Peter Max Studio (ALP, Inc., New York), and this artwork will be shipped directly from the Studio to the buyer. Per the requirements of the Peter Max family and the Studio (ALP, Inc., New York), this artwork will be dedicated by the Peter Max Studio to the buyer or a person of the buyer’s choosing (first and last name). Excerpted from the Peter Max Archives, Peter Max created this vibrant and sumptuous heart image for the 'Lotta Love' tribute concert in memory of singer Nicolette Larson. The concert benefitted UCLA Children's Hospital with performances by the most celebrated performers of the singer-songwriter era - Carole King, Jimmy Buffett, Joe Walsh, Dan Fogelberg, Jackson Browne, Emmylou Harris, Linda Ronstadt, Crosby, Stills and Nash, Bonnie Raitt...

Title: Earth Day 1995 Year: 1995 Medium: Offset lithograph in colors on gloss archival paper Size: 22 x 20.875 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as ...

Basilica di S.Paolo and Minici Cosinensi Monastery is vintage offset print century realized after Giuseppe Vasi in the early 20th century. Signed and titled on plate lower margin. ...

Jovan Obican, French/Yugoslavian (1918 - 1986) - Tennis Player, Year: circa 1995, Medium: Poster, signed, Size: 22 in. x 17 in. (55.88 cm x 43.18 cm)

Agent X Title : Desiree Calderon Year: 2019 Medium: Digital Print Signed Edition: 125 70 x 70 inches Agent X, cultural explorer and agent of the unknown, is an emerging artist who c...

Original vintage travel poster: HOLLAND AMERICA CRUISES. Artist: David Klein. This poster is printed on a thicker paperstock and doesn't require ...

Original movie poster: BREAK THROUGH. U. S. 1-sheet vintage, linen-backed vintage 1950 release. Very good condition; ready to frame. Breakthrough is a 1950 American war film di...

Alex Katz Alex Katz Black and White (Hand signed by Alex Katz), 2017 Hardback monograph with no dust jacket as issued (Hand signed by Alex Katz) Hand signed by Alex Katz on the first...

I Castelli Romani is a splendid offset poster realized by Neal Slavin, in 1983. Colored photography, in very good conditions. Regione Lazio / Centro Iniziative Culturali Pantheon -...

Honeymoon Machine, original 1 sheet U. S. theater poster; acid-free archival linen backed; this poster is ready to frame. Very fine condition with original theater-issued fold mark...

Original. Linen backed Sensoji Temple Tokyo. Buddhist poster. Features the Buddha giving off lotus pedals, while floating above a city. Behind him is a pagoda—rare original Asian travel poster. "Asakusa Festival". Sensoji Temple Tokyo This poster does not show a date. Sensoji (浅草寺, Sensōji, also known as Asakusa Kannon Temple) is a Buddhist temple located in Asakusa. It is one of Tokyo's most colorful and famous temples. This temple is dedicated to Kannon, the Buddhist goddess of mercy. The Sanja (Sensoji) Festival of Asakusa Shrine is held on the third weekend in May. It became very popular during the Edo period (1603-1868), and today it features the parading of more than a hundred mikoshi (portable shrines) by residents around the crowded streets near Asakusa Shrine. Japanese Railway...

Gerhard Richter Fra van Gogh Til Gerhard Richter (From Van Gogh to Gerhard Richter) - Hand signed by Gerhard Richter, 1994 Offset lithograph (Hand Signed) Hand signed in black marker...

Original vintage poster: FRENCH LINE cruise line. Archival linen-backed original travel by cruise line vintage poster. "Greet Europe Relaxed & Refreshed by France- Afloat." Frenc...

Equestrian is a vintage offset poster realized after Zhou Zhiwei in occasion of the 2008 Olympic Games in Beijing. Official stamp of the Organising Committee. Excellent condition.

This is an exhibition poster titled "Family Group" by renowned artist Henry Moore, published in 1992 by Shorewood Press in Connecticut. It features Moore's iconic depiction of a fami...

Locomotive à Vapeur type 141P original vintage horizontal poster. Archival linen-backed in A- , B+ condition. Ready to frame. Printed on natural-toned dark cream paper. Printer: ...

Vintage offset poster realized after Andy Warhol in occasion of the 14° Olympic Winter Games of Sarajevo (1984). A striking original poster designed by Andy Warhol for the 1984 Wint...

Vintage poster realized in 1984 in occasion of the XIV Olympic Winter Games in Sarajevo. Edition of 1000. Created by the Slovenian painter Gabriel Stupica, one of the foremost repr...

Offset print realized after Kiri Kolar, in occasion of the XIV Olympic Winter Games in Sarajevo. Limited edition of 100. Very good condition. Designed by celebrated Czech artist a...

Grateful Dead “Skeleton Roses” Poster (1971) — Tour Blank. Grade A, A- condition, ready to frame. A striking 1971 Grateful Dead poster featuring the band’s iconic skeleton c...

Original title: "I Castelli Romani". Poster of the 1983 Exhibition by Neal Slavin at Galleria Rondanini Rome. Excellent conditions.

Vintage offset poster realized in occasion of the exhibition @Galleria Marino of illustrations for childrens' Books in 1976.

This work is an exceptionally rare surviving New York City subway banner created for Christo and Jeanne-Claude's public art. project The Gates (Central Park, 2005) - one of the most ...

Original WWII poster: Protect his Fugtures buy and Keep War Bonds The color poster shows a young, smiling boy being lifted in the air, holding on to a man's hands. The boy has blond...

Cat and Fish is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in the 1970s. The state of pres...

Drape is an original Offset realized by Giacomo Manzù (1970). The artwork is in good conditions, except for some stains on the lower margin. Signed on plate by the artist on the lo...

Yoshitomo Nara Blankey Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

Maurizio Cattelan (Italian, b. 1960) Fondation Beyeler exhibition poster, 2013 Dimensions: 128 x 90 cm Edition of 100: Hand-signed and numbered in black felt-tip pen Condition: Mint

Artist: Kiki Kogelnik, Austrian (1935 - 1997) Title: Jack Gallery Year: 1977 Medium: Poster Size: 28.5 x 18 in. (72.39 x 45.72 cm) Frame Size: 30 x 19.25 inches

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...

View of Ripa Grande is a vintage offset print realized in the early 20th Century by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corle...

Nassos Daphnis Structures (Rare Leo Castelli Gallery invitation), 1963 Offset Lithograph poster/invitation 22 × 16 inches Publisher Leo Castelli Gallery Accompanied by gallery issued...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

The Boats - Vintage Poster is an artwork realized for Exhibition at Maurice Garnier Gallery by Bernard Buffet in 1984. Offset and Lithograph, Printed by Mourlot.

Robert Indiana "My portrait was taken on Coenties Slip"...., 1993 Handwritten letter on an offset lithograph postcard Boldly signed in black marker under the letter 4 2/5 × 7 3/5 inches Unframed Unique one-of-a-kind hand written, hand signed note from Robert Indiana, dated 23 VII '93, written on the postcard depicting Robert Indiana's work "Mother and Father", published by the Farnsworth Museum in Maine. The note, done in black marker, is addressed to Don Allan II of Barrington, N.H. and reads" "DON - MY PORTRAIT IF YOU DO NOT KNOW, WAS TAKEN ON COENTIES SLIP IN NYC". Robert Indiana then signs the note.. (Presumably, the reply is in response to a letter or question this fan sent to the artist asking where Indiana's portrait was taken). Makes a great gift for Robert Indiana fans! Coenties Slip is a historic artist's address in the New York art scene - there was even a book written about it! Coenties Slip is a street in the Financial District of Manhattan in New York City. It runs southeast for two blocks in Lower Manhattan from Pearl Street to South Street. A walkway runs an additional block north from Pearl Street to Stone Street Here's an excerpt from Art in America reviewing the book: "How does specificity of place play a role in art, enough to become more figure than ground, less a context than a character? This is one of the larger questions framing art historian Prudence Peiffer’s momentous new survey The Slip: The New York City Street That Changed American Art Forever. The book vividly documents a moment in the 1950s and ’60s when a cast of artists settled, at staggered intervals, in a three-block area around Coenties Slip, a street on Manhattan’s lower tip. Coenties Slip borrowed its name from one of the “slips”—inlets for the docking and repairing of boats—that once cut sharply into New York’s downtown waterfront, facilitating the busy circulation of fish, freight, and sailors between land and sea. While New York’s status as a maritime trading hub lured fleets of boats, it was the skeletal remains of that activity, by then sharply diminished, that drew artists to Coenties Slip. In place of industry, they found vast and vacant loft spaces, cheap to rent, in which they could both work and live (illegally, owing to zoning laws)....Peiffer’s book arrives nearly 50 years after the earliest attempt to honor the Slip: the 1974 exhibition “Nine Artists/Coenties Slip,” organized for an old downtown branch of the Whitney Museum on Water Street nearby. The exhibition showcased lesser-known inhabitants of the Slip, including Fred Mitchell (the first to settle there), Ann Wilson...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...

Mel Ramos 50 Years of Pop Art (Hand signed, dated and inscribed to Nadine by Mel Ramos), 2010 Softback monograph with dust jacket (hand signed, dated and inscribed by Mel Ramos) Hand...

Original “All About Eve” Happy 50th Anniversary vintage movie poster. Archivally linen backed in excellent condition, ready to frame. All About Eve, the classic 1950 Joseph L. Ma...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Excellent c...