462 results for "leo castelli"

Offset lithograph in colors on wove paper, published in conjunction with an exhibition—Warhol’s breakout “Flowers” show—held at New York's Leo Castelli Gallery from November 21-Decem...

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

Edward Ruscha: New Paintings, Leo Castelli Gallery, 1980 Offset lithograph poster 22.5 x 18 inches Unframed Published by Leo Castelli Gallery Good vintage condition with some handli...

Bruce Nauman Bruce Nauman at Leo Castelli, 1978 Offset Lithograph Poster 18 1/4 × 36 inches Unframed This Bruce Nauman poster was created on the occasion of his exhibition at the Leo Castelli Gallery in New York from February 4 - 25, 1978. The poster has some minor overall creasing and natural folds but is otherwise in good vintage condition. Please note: This is the original 1978 Leo Castelli poster...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Leo Castelli Gallery (The Red Horseman)" *Dedicated, signed, and dated by Lichtenstein in pencil lower right Year: 1975...

Andy Warhol 1970s Cover Art, "Twenty Years Leo Castelli Gallery, New York, 1977” - a monograph honoring the twenty years of Leo Castelli Gallery featuring a cover illustration by An...

Lichtenstein Exhibition Poster is a very colorful poster realized in occasion of the artist's exhibition at Leo Castelli Gallery New York in 1979 (Recent Paintings held in Leo Castel...

JOHN CHAMBERLAIN Leo Castelli Invitation, 1976 Offset Lithograph invitation 21 1/2 × 16 inches Unframed This rare vintage offset lithograph invitat...

This strikingly large poster was produced for a 1979 exhibition at the iconic Leo Castelli Gallery on West Broadway, New York. It captures the vibrant art scene of the late 1970s, sh...

An invitation to "Andy Warhol: A Print Retrospective 1963-1981" held at the Leo Castelli Gallery in New York City, printed with the iconic image of Marilyn Monroe. Published by Caste...

Offset lithograph poster for an exhibition of Jasper Johns drawings held at New York City’s Leo Castelli Gallery from January 10-January 31, 1970. Shows the image “Two Flags,” a grap...

Robert Morris Investigations (with Guggenheim Museum Labels), 1990 Graphite drawing on Mylar. Framed with the original Guggenheim Museum label (lent by Sonnabend), Castelli Gal...

Paper Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Image Size: 18.5 x 36 inches ( 46.99 x 91.44 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: First edition exhibition poster by Bruce Nauman introducing his new installations at Leo Castelli’s Febriary 4th-25th, 1978. Photographed by Frank Thomas...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Leo Castelli Gallery (Landscape with Red Sky)" Year: 1985 Medium: Original Offset-Lithograph, Exhibition Poster on smoo...

Andy Warhol Leo Castelli Gallery 1972: Leo Castelli gallery released this colorful, highly collectible 1970s Andy Warhol Mao announcement card in ...

Rare, historic collectors item: Roy Lichtenstein, Frank Stella, John Chamberlain New Work, Leo Castelli poster, 1967 Offset lithograph poster invit...

A beautiful and extremely rare piece, this poster is for Roy Lichtenstein's exhibition at the Leo Castelli Gallery on West Broadway in New York in 1975 and features Lichtenstein's ar...

This is the original offset lithograph exhibition poster for Twombly’s show at Leo Castelli Gallery, New York, published 1967. It features his characteristic scribbled mark-making an...

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...

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

Roy Lichtenstein for Leo Castelli Gallery is a very colorful artwork realized after Roy Lichtenstein in 1979. Mixed colored offset  on paper. This beautiful print was realized on t...

Installation At Leo Castelli's By Bruce Nauman 1978 Medium: Offset Lithograph Paper Size: 18.5 x 36 inches ( 47 x 91 cm ) Image Size: 18.5 x 36 inches ( 47 x 91 cm ) Edition S...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Leo Castelli Gallery at Northpark National Bank (Reclining Bather)" Year: 1978 Medium: Original Screenprint, Exhibition Poster on heavy wove paper Limited edition: Unknown Printer: Unknown Publisher: Leo Castelli Gallery, New York, NY Sheet size: 39.38" x 25.63" Image size: 16.5" x 24.5" Condition: A few minor handling creases and scuffmarks. A few small areas of surface debris. Two small spots of discoloration upper right edge and lower right corner. In otherwise very good condition with strong colors and clean paper and edges Extremely rare Notes: Provenance: private collection - New York, NY. Poster produced for a special exhibition of Lichtenstein and other artists' work "Leo Castelli Gallery at Northpark National Bank" at the Northpark National Bank, Dallas, TX from June 15 - August 15, 1978. The image featured on this poster is Lichtenstein's 1978 painting "Reclining Bather". This 1978 exhibition "Leo Castelli Gallery at Northpark National Bank" featured the work of various represented artists by Leo Castelli Gallery including Richard Artschwager, Donald Judd, James Rosenquist, Kenneth Noland, Robert Rauschenberg, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Frank Stella, Ron Davis, and Andy Warhol. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: American artist Roy Lichtenstein was born in New York City on October 27, 1923, and grew up on Manhattan's Upper West Side. In the 1960s, Lichtenstein became a leading figure of the new Pop Art movement. Inspired by advertisements and comic strips, Lichtenstein's bright, graphic works parodied American popular culture and the art world itself. He died in New York City on September 29, 1997. Lichtenstein was committed to his art until the end of his life, often spending at least 10 hours a day in his studio. His work was acquired by major museum collections around the world, and he received numerous honorary degrees and awards, including the National Medal of Arts in 1995. In 2013 the painting "Woman with Flowered Hat" set another record at $56.1 million as it was purchased by British jeweller Laurence Graff...

Lawrence Weiner Then Now and Then: Leo Castelli Gallery (Hand Signed), 1997 Vintage Poster Signed by Lawrence Weiner 14 × 12 1/2 inches Unframed Uniquely hand signed poster (of unkno...

Bruce Nauman Untitled (2-color lithograph, published in conjunction with the exhibition "Bruce Nauman: Holograms, Videotapes, and Other Works"), Leo Castelli, 1969 Lithograph 24 x 20...

Roy Lichtenstein, Castelli Graphics, New York, 1969 announcement: A rare, highly collectible 1960s Roy Lichtenstein announcement published on the occasion of: Roy Lichtenstein, 'Rouen Cathedrals and Haystacks', Leo Castelli Gallery, New York, June 7th, 1969. Medium: Folding announcement on smooth wove paper; offset printed; 1969. Dimensions: 9.25 x 6.5 inches (folded closed). Good overall vintage condition. Unsigned from an edition of unknown. Scarce. _ Roy Lichtenstein was an American artist known for his paintings and prints which referenced commercial art and popular culture icons like Mickey Mouse. Composed using Ben-Day dots—the method used by newspapers and comic strips to denote gradients and texture—Lichtenstein’s work mimicked the mechanical technique with his own hand on a much larger scale. He was a leading figure in establishing the Pop Art movement, along with Claes Oldenburg, Andy Warhol, and Jasper Johns. “I take a cliché and try to organize its forms to make it monumental. The difference is often not great, but it is crucial,” he once said of his work. Born on October 27, 1923 in New York, NY, he studied painting under Reginald Marsh at the Art Students League of New York after graduating from high school. Drafted by the US Army during World War II, while stationed in France, he notably encountered the works of European masters and contemporary artists. After the war, he returned to America and completed his degree at Ohio State University, producing paintings in the vein of Abstract Expressionism. Lichtenstein began teaching art at Rutgers University during the late 1950s, meeting fellow faculty members involved in the New York art scene, including the performance artist Allan Kaprow. By the early 1960s, he had begun showing with Leo Castelli gallery in New York, and made major breakthroughs with works such as Drowning Girl (1963), a satirical take on melodramatic pulp fiction of the era. Themes of irony and cliché prevailed throughout the remainder of Lichtenstein’s career, as evinced in his Haystacks (1969), a take on the canonical series by Claude Monet. The artist died of pneumonia on September 29, 1997 in New York, NY. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Modern in London. Related Categories Roy Lichtenstein Mirror...

This original offset lithograph poster for Robert Rauschenberg's 1986 "Gluts" exhibition at Leo Castelli Gallery in New York highlights the artist's experimental approach, printed on...

Richard Artschwager Blip Printed by Brooke Alexander in Cooperation with Leo Castelli. Single fold announcement card announcing the publication of five multiples and a sculpture-con...

The poster for Robert Longo's joint exhibition at Leo Castelli Gallery and Metro Pictures in 1983 played a significant role in promoting and contextualizing Longo's work within the c...

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

Hans Namuth Jasper Johns and Leo Castelli, ca. 1985 Color Photograph Frame included Provenance: from the Marjorie and Anselm Talalay collection, Cleveland, OH. Rare original color p...

Christo at Leo Castelli Gallery New York (Hand Signed), 1966 Extremely rare Offset Lithograph Poster announcement Boldly hand signed by Christo in blue marker on the lower left front. Addressed to the influential (legendary) art critic Pierre Restany...

Original vintage photograph taken by Jeannette Montgomery Barron of art dealer Leo Castelli in NYC, 1984. Vintage silver gelatin print. Framed. Image: 9 × 9 inches Paper: 14 × 1...

Caucus is an offset lithograph on paper with an image size of 37 x 27 inches, framed in a contemporary, silver-tone frame 50.5 x 40.25 inches. From the edition of 190 - the art is si...

This rare, original offset lithograph poster was produced for Robert Rauschenberg’s Gluts exhibition at Leo Castelli Gallery, New York, held from November 1–22, 1986. Printed on tran...

Keith Haring Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s Keith Haring announcement published on the occasion of: Keith Haring at Tony Shafrazi Gallery,...

This gorgeous offset lithograph poster was created on the occasion of the Eva Arnold exhibition, Marilyn Monroe: An Appreciation, at the famed Leo Castelli Gallery in 1987 - Castelli...

L.C. is a screenprint by Ed Ruscha with an image size of 37 x 27 inches and framed dimensions of 50.5 x 40.5 inches. From the total edition of 190, signed 'Ed Ruscha '97' lower right...

This poster features a subtle yet evocative design incorporating silver/grey text arranged within a faint square outline. Though difficult to discern at first glance, the words emerg...

Ed Ruscha (American, born 1937) L.C., from Leo Castelli 90th Birthday, 1997 Medium: Screenprint in colors, on Somerset Velvet paper Dimensions: 94.2 x 68.8 cm (37 1/8 x 27 1/8 in) Ed...

"Two Flags" by Jasper Johns Unsigned Offset Lithograph. Custom framed. DATE: Made in 1969. EDITION: This Offset Lithograph is from an edition size of 800 and is not framed. DI...

Robert Rauschenberg Robert Rauschenberg at Leo Castelli (postmarked to artist Ludwig Sander), 1960 Offset lithograph poster 19 × 26 inches Unframe...

Keith Haring at Tony Shafrazi/Leo Castelli Gallery, New York, 1985: Rare original 1980s announcement for two Keith Haring exhibitions: Keith Haring at Tony Shafrazi Gallery, October 26...

Artist: (after) Andy Warhol (American, 1928-1987) Title: "Neue Nationalgalerie (Flowers)" Year: 1969 Medium: Original Linocut, Exhibition Poster on light wove paper Limited edition: ...

Mailer/poster published to announce Roy Lichtenstein’s Landscapes exhibition held at New York’s Leo Castelli Gallery from October 24th to November 19th, 1964. Offset lithograph in co...

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...

Leo Castelli, NYC, 1979

Artist: Roy Lichtenstein, American (1923 - 1997) Title: This Must Be the Place (C. III.20) Year: 1965 Medium: Offset Lithograph, signed in the plate and in pencil l.r. Edition of unk...

Price varies dependent on the choice of material and size. Meret Oppenheim Traccia sculptural table Manufactured by Cassina ...

Paper Size: 36.5 x 25 inches ( 92.71 x 63.5 cm ) Image Size: 29 x 25 inches ( 73.66 x 63.5 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Artist: Lichtenstein, Roy Title: Red Lamp Date: 1992 Medium: Original lithograph on Rives BFK paper Unframed Dimensions: 21.5" x 24" Framed Dimensions: 32" x 34.5" Signature:...

Jasper Johns Graphics and Drawings at the Louisiana Museum, Leo Castelli Collection (Hand Signed by Jasper Johns), 1992 Offset lithograph (Hand Signed and dated by Jasper Johns) Signed and dated 7 March 1997 in black ink on the front (see close up photo) Jasper Johns ink signature and date are on the outer yellow circle - see close up photo Extremely rare collectible...

This reproduction is from Richard Artschwager's 1985 exhibition at Leo Castelli Gallery, showcasing an abstract work on paper. The artwork features a yellow shape that appears to be ...

Kunstdruck, entstanden anläßlich Leo Castelli exhibition in New York Zustand; Darstellung im guten Zustand, leichte Randmängel

Offset lithograph on white wove paper, Edited in 1965 Limited edition , signed in pencil by artist in lower right corner paper size: 69 x 51.5 cm framed size: 72.5 x 55.5 cm good...

Rosenquist Exhibition Poster is an original contemporary artwork realized in 1970. Offset poster realized in occasion of the James Rosenquist ex...

Paper Size: 33 x 23 inches ( 83.82 x 58.42 cm ) Image Size: 26 x 23 inches ( 66.04 x 58.42 cm ) Framed: No Condition: A: Mint Additional Details: First edition exhibition poste...

Exhibition poster - made for an exhibition at Leo Castelli, New York In great condition Minimal marginal defects

Untitled, 1967 Donald Judd From Ten From Leo Castelli Folded stainless steel multiple Signed in black felt-tip pen and numbered from the edition 186 of 200 on a paper label affix...

Roy Lichtenstein Still Life with Windmill, 1973 Colored pencil on paper 5 x 8 ¾ inches (12.7 x 22.2 cm) NB: The work is included in the Roy Lichtenstein catalogue raisonné. Provena...