1970s Portrait Prints

Artist: Jasper Johns, American (1930 - ) Title: Cup 2 Picasso Year: 1973 Medium: Lithograph, signed in the plate Size: 15 x 10.5 in. (38.1 x 26.67 cm) Frame: 19.5 x 17.25 inches Pri...

Pablo PICASSO (1881-1973) Series 156, Painter Drawing is Model (plate 16), 1978 Original etching (Crommelynck workshop) Signed with stamp Justified HC B/C On vellum, 63 x 76 cm (c. ...

Artist: Pablo Picasso Title: Femme au Fauteuil et Homme Accoude Medium: Etching Portfolio: Series 156 Date: 1971 Edition: 1/50 Frame Size: 19 1/8" x 16 7/8" Sheet Size: 12 7/8" x 9 7...

Artist: Salvador Dali Title: Thomas (Lancelot Healing Sir Urre) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 38/350 Frame S...

Portrait  is a Screen Print Artwork realized by Salvatore Fiume in 1970s. Very good condition on a cream colored cardboard. Hand-signed and numbered with pencil by the artist on th...

THE LANTERN is an original, handmade limited edition lithograph printed in 13 colors from hand drawn lithography plates using traditional hand lithography methods on archival Somerse...

Salvador Dali (1904-1989) Psychoanalysis : Tribute to Freud, 1972 Original coloured lithograph Handsigned in pencil Numbered 984/ 1000 On Arches Vellum 35 x 26" (87 x 64 cm) Ref...

Cy Twombly Allusions, Bay of Naples (from the collection of Donald Baechler), 1975 Color offset lithograph and photo lithograph on wove paper Signed and numbered 56/80 in ink on the ...

Mao is a contemporary artwork realized by Andy Warhol in 1974. Colour screenprint on wallpaper. Includes frame: 113 x 86 x 3 cm Hand signed by lower left. Prov. Galerie Vayhinger...

Andy Warhol (after), Double Self-Portrait — Louisiana Museum, 1978 Original Danish exhibition poster; linen-backed; Very Fine (Grade A) Striking vintage exhibition poster created b...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

FALLING STAR is a limited edition color lithograph printed using traditional hand lithography methods on archival printmaking paper, 100% acid free, by the renowned African American artist Romare Bearden. FALLING STAR presents a visual memory from Bearden's childhood in Mecklenburg County North Carolina expressed as a modern collage portrait depicting a black woman set in a nostalgic Southern domestic interior. FALLING STAR's main focus is a black woman standing on the right drinking from a blue and white teacup...

Printer’s ink from rubber stamp on vélin Strathmore 3-ply paper. Paper Size: 8 x 8 inches. Inscription: Unsigned, as issued. Notes: From the folio, Rubber Stamp Portfolio, 1977. Publ...

Shock and awe! Original Counselor at Crime vintage movie poster. 'Good with the Law, Better with a Gun! Paper, original theater fold. Very good condition without any paper loss or tears. 1973 When the godson of San Francisco's crime lord asks permission to leave "the business," Don Antonio (Martin Balsam) agrees, but reluctantly. Such behavior by either one is a violation of the code, and a bloody mob war breaks out. It is only through the strong support of his family connections in Sicily that Don Antonio is able to survive the melee and come out on top. Aghast at the situation he has caused, the godson (Tomas Milian) becomes his leader's "consigliere," or Counselor at Crime. This Italian movie was filmed in English in San Francisco, California, and Palermo, Sicily. This is a man-cave vintage poster, one that you very seldom see or have the chance to purchase. Printed in black and white with red to grab your attention. Italian movie in English. The poster was originally folded, like all early movie posters, so that it could be sent to the movie theater. Original fold marks. Some small scuff marks at the fold marks. No tears. The original fold marks are not classified as flaws in old movie posters...

An erotic dalliance between a nude blonde woman lying down, and nude man, on a bed with white sheets. Subtle shades of peach, tan, yellow, and grey and black shadow behind the couple...

GLOWING HANDS is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. GLOWING HANDS is a highly detailed sp...

PLAY by the American painter and printmaker Will Barnet (born May 25, 1911 - died Nov. 13, 2012) is an original hand drawn lithograph printed using hand lithography techniques on arc...

Raphael Soyer Self-Portrait is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Pai...

Part of a series of etchings by Pablo Picasso, Series 156. This print is part of an edition of 50, and the measurements of the exact etching without the frame is 8.1 x 5.9 inches. T...

Artist: Leonard Baskin Title: Chief American Horse - Oglalla Sioux Year: 1973 Medium: Lithograph, Signed and Numbered in pencil Edition: 100 Size: 41 x 30 inches

Fernando Botero's painting Los Músicos (The Musicians) was completed in 1979. The following year, in 1980, Marlborough Gallery in New York published an exhibition poster featuring th...

Artist: Salvador Dali Title: The Watcher (Knights of the Realm) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 37/350 Frame S...

Medium: original color lithograph. Catalogue reference: M 689. Executed in 1973 for the "The Biblical Message of Marc Chagall" and printed in Paris by Mourlot on wove paper. Size: 12...

Artist: Salvador Dali Title: James the Greater (Lancelot of the Lake) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 33/350 F...

Birdie is a silk skreened poster realized in 1970s. Signed on plate on the  right margin "printed in Israel by Shohar". Good conditions.

"Cabaret" Liza Minnelli Joel Grey Broadway Film Academy Tony Award Musical Signed and numbered 12/150 in pencil, lower margin. Etching with aquatint, 15” x 10 1/2”. Framed 22” x 1...

Original 1971 “Scars of Dracula” / “Horror of Frankenstein” vintage U.S. one-sheet movie poster — 27 x 41 in. An original U.S. theatrical one-sheet poster for Hammer Films’ 1971 dou...

Marc Chagall Hommage à Elsa Triolet, 1972 Lithograph in colors on Arches paper Hand signed and numbered 7/20 from the very rare edition of 20 Mourlot 642 Paper: 25.5 x 19.5 Framed: ...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

Artist: Salvador Dali Title: Matthew (Geoffrey of Monmouth) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 41/350 Frame Size:...

David Hockney (1937-) Elegant Man Reading (Portrait of Jacques de Bascher), 1975 Original vintage poster (offset print) Published by Imprimerie Dermont (Paris) On paper, 64 x 45 cm ...

Artist: Salvador Dali Title: Jude (Excalibur) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 38/350 Frame Size: 29 7/8" x 26 ...

Artist: (after) Edvard Munch (Norwegian, 1863-1944) Title: "Nordjyllands Kunstmuseum (The Brooch. Eva Mudocci)" Year: 1973 Medium: Original Lithograph, Exhibition Poster on heavy wove paper Limited edition: Unknown Printer: Unknown Publisher: Nordjyllands Kunstmuseum, Aalborg, Denmark Sheet size: 35" x 21.5" Image size: 24.75" x 19" Condition: Some minor handling creases. Light toning at edges. In otherwise excellent condition Rare Notes: Printed in four colors: black, black, tan, and red-orange. Produced for a special posthumous exhibition of Munch's work at the Nordjyllands Kunstmuseum, Aalborg, Denmark from August 16 - October 21, 1973. The image featured on this poster is Munch's 1903 lithograph edition "The Brooch. Eva Mudocci", (Woll No. 244, page 208-209). Edvard Munch would build a strong relationship with Eva Mudocci which lasted many years. They were connected through both romance and also friendship, with the two alternating in importance over time. There was a great mutual respect for each other, with Mudocci being a highly talented violinist from the UK who would regularly tour throughout Europe. They first got together in Paris...

A colorful erotic daydream drawing of a nude blonde fantasizing, with a redhead woman, and man. Green and purple patterns on hair and pillows, and art deco motifs, adorn this sensual...

Medium: original lithograph. Catalogue reference: Mourlot 608. Printed in Paris at the atelier Mourlot in 1970 for the art revue XXe Siecle (No. 34) and published by San Lazzaro. Siz...

Fly is a colored serigraph on paper realized by the French artist Félix Labisse. Hand-signed in pencil on the lower right margin. Numbered in pencil on the lower left margin. Editio...

Original The Pit and the Pendulum “Il Pozzo e Il Pendolo” vintage Italian movie poster. Linen backed in very good condition, ready to fr...

V. Beffa - Clown. Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Alex Katz (b. 1927) has been dedicated to art-making since the 1950's - however, it wasn't until the 60's when he established his signature 'flat' figurative style. Over the succeedi...

RENJISHI is a hand drawn, limited edition lithograph by the renowned artist/caricaturist Al Hirschfeld (1903-2003) printed by hand using traditional lithography techniques on archiva...

Salvador Dali - Flung out like a Fag-end by the Big- - Original Signed Engraving Handsigned in pencil and Numbered Edition: F195/195 - Printer: Atelier Rigal. - Paper: Rives vellum ...

Horse is a drypoint and etching, realized by Enotrio Pugliese in the 1970s. Limited edition of 2/8 prints, numbered and Hand-signed by the artist on the lower. Good conditions. En...

Salvador Dali Don Juan: The Banquet (Le Banquet), Published 1970 Medium: Hand-Colored Drypoint Etching on Arches Paper Edition: 38/250 Artwork Size: 25 x 20 in Framed Size: 33 ...

Part of a series of etchings by Pablo Picasso, Series 156. This print is part of an edition of 50, and the measurements of the exact etching without the frame is 8.1 x 5.9 inches. T...

LOUISIANA SERENADE is a limited edition color lithograph by the renowned African American artist Romare Bearden, printed on archival Somerset printmaking paper, 100% acid free, in an edition size of 175. LOUISIANA SERENADE, from Bearden's late 1970's colorful JAZZ series of musical imagery, captures a Southern evening depicting two male figures playing their guitars on the veranda while a seated woman sits listening beside a glowing glass chimney lamp. LOUISIANA SERENADE, printed in lush hues of green, red, yellow, purple, blue presents a free flowing watercolor-like abstract music portrait by the renowned American artist Romare Bearden. Print size - 24.5 x 33.75 inches, unframed, excellent condition, fresh colors, full bleed image, no margins, hand signed in pencil by Romare Bearden, printer's chop mark embossed on lower edge, print documentation provided Year Published - 1979 Edition size - 175, plus proofs About the artist- Romare Bearden (1911-1988) Born in Charlotte, North Carolina, Romare Bearden is one of America’s most esteemed African American contemporary artists. Bearden grew up in the Harlem neighborhood of New York City and attended New York University where he received a degree in mathematics. Following graduation, Bearden turned his attention to art, pursuing further studies with George Grosz at the Art Students League. The artist served in the United States Army from 1942 to 1945. After leaving the Army, Bearden used funds from the GI Bill to travel to Europe for six months to study art history and philosophy at the Sorbonne. During this trip, Bearden had the opportunity to meet Henri Matisse, Georges Braque and Joan Miro, all of who had a strong influence on his artwork. Bearden’s work on canvas and collages expressed the complexities of rural Black America. “My intention is to reveal through pictorial complexities of the life I know,” he said. He integrated scenes from his childhood in North Carolina and from New York City, including many rituals and social customs. Another theme throughout his work was music. Bearden grew up surrounded by musicians and loved jazz and blues. Romare Bearden’s artwork can be found in numerous permanent collections around the country including the Museum of Modern Art and the Metropolitan Museum of Art. Retrospective exhibitions of Bearden’s art have been held by The Mint Museum of Art, Charlotte; the Museum of Modern Art; the Detroit Institute; and the Studio Museum in Harlem. As well, President Reagan...

Italian Cinema - Vintage Poster is a offset print of polish poster realized by Franciszek Strawieyski, in 1974. Black and White offset print. Signed n...

Artist: Peter Max (German-American, 1937-) Title: "Aztec Man" *Signed by Max in pencil lower right Year: 1973 Medium: Original Lithograph on Arches paper Limited edition: 205/300 Pri...

Artist: Salvador Dali Title: Andrew (Visions of Camelot) Portfolio: 1972 The Twelve Apostles (Knights of the Round Table) Medium: Lithograph Year: 1972 Edition: 41/350 Frame Size: 29...

Collotype in colors on paper. Unsigned. Published in 1972. Copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

Figura de Hombre en Azul con Fondo Gris / Figure of a Man in Blue with Gray Background. Carborundum etching on paper. Hand signed lower right by Ruffino Tamayo. Hand numbered HC 3...

Andy Warhol Mick Jagger, Leo Castelli gallery 1975: A stunning set of ten announcement cards published by Castelli Graphics in 1975 to advertise the...

A classic David Hockney portrait, this lithograph depicts the artist's friend Brooke Hopper. Brooke Hopper, one of the Hollywood elite, is the daughter of the producer Leland Hayward...

SEATED WOMAN BLUE JEANS is an original hand drawn (not digitally or photo reproduced) limited edition lithograph by the artist Raphael Soyer - Russian/American Social Realism Painter...

Peter Milton’s Les Belles et la Bête: Before the Hunt shows his ability to weave together fantasy, art history, and the subconscious into a single intricate vision. The print stages ...

OUT CHORUS(RHYTHM SECTION) is a limited edition color lithograph printed using traditional hand lithography methods on archival Arches printmaking paper, 100% acid free, in an editio...

Mick Jagger V - After Andy Warhol. The light green background contrasts with the abstract pink slashes on the image of this lithographic print. Mick Jagger is an iconic rock legend who was the frontman and one of the founders who sang lead in the British Rock and Roll Band, The Rolling Stones...

Andy Warhol (after) Exhibition Poster for Andy Warhol Exhibition at the Denver Art Museum Double Elvis, 1977 Autographed and dedicated "to Maryanne" ...

BROTHERS is an original hand drawn lithograph by the Argentine artist, Aldo Luongo. Printed in 1975 at Circle Gallery NYC using traditional hand lithography methods on archival Arche...

Chuck Close Phil, 1976 Limited Edition rubber stamp print on Strathmore 3-Ply Paper. Pencil numbered from the edition of 1000 on the verso. Artist's printed copyright name verso. Acc...

Collotype in colors on paper. Unsigned. Title and copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.