Saul Steinberg

1970s Saul Steinberg lithograph (Steinberg Derrière le miroir)

c.1970

Keith Haring crack down! 1986: Vintage original 1986 Keith Haring illustrated Crack Down! benefit program. This folding pamphlet was designed & illustrated by Keith Haring (along with a poster of same), for the 1986 "Crackdown on Crack" concert at New York City’s world...

1970s Milton Glaser Poster Art: Milton Glaser The Lovin' Spoonful: Vintage original Milton Glaser poster c.1972. Designed by Milton Glaser on the occasion of: "The Lovin' Spoonful a...

1960s Milton Glaser Poster Art: Milton Glaser Poppy Gives Thanks: Vintage original Milton Glaser poster c.1968. Designed by Milton Glaser on the occasion of a concert at New York's ...

1970s Alexander Calder Lithograph from Derriere le Miroir: Medium: Lithograph in colors. 1975. Dimensions: 15 x 22 inches. Center fold-line as issued; v...

Saul Steinberg Derrière le Miroir: A lithographic cover published c. 1970. Well suited for framing. A fantastic vintage Saul Steinberg collectible within reach. Lithograph in color...

1980s Milton Glaser Poster Art: San Diego Jazz Festival: Vintage original Milton Glaser poster c.1983. Designed by Milton Glaser on the occasion of the San Diego Jazz Festival, a Pacific Coast event depicted with a suit-and-sandal clad bear at dusk. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the saxophone. Offset lithograph poster in colors. 24x36 inches. Very good overall vintage condition with the exception of perhaps some minor signs of handling. A suit-and-sandal bear heralds this Pacific Coast event with a serenade with a beautiful sunset. Several favorite Glaserisms show up here: the swirling contours, the loose cross-hatching and the sax. Literature: Milton Glaser Posters Legendary graphic designer, illustrator, and art director Milton Glaser created some of the most recognizable iconography in America today —including the iconic I ♥ N Y logo —and countless posters and ad campaigns. Glaser changed the face of commercial art in the 1960s and ’70s, breaking with the conventions of modernism and drawing inspiration from a wide variety of art-historical and pop-cultural sources, from Art Nouveau to comic illustration...

Hand Signed verso D. Herbert and numbered 1 of 20. (possibly Don Herbert)

Larry Rivers "The Music Festival of the Hamptons / July 18-27 1997" poster, Not hand signed. [Dimensions: 24" H x 18" W] Larry Rivers (born Yitzroch Loiza Grossberg) (1923 – 2002) was an American artist, musician, filmmaker, and occasional actor. Considered by many scholars to be the "Godfather" and "Grandfather" of Pop art, he was one of the first artists to merge non-objective, non-narrative art with narrative and objective abstraction. Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947–48. He earned a BA in art education from New York University in 1951. His work was quickly acquired by the Museum of Modern Art. A 1953 painting Washington Crossing the Delaware was damaged in fire at the museum five years later. He was a pop artist of the New York School, reproducing everyday objects of American popular culture as art. He was one of eleven New York artists featured in the opening exhibition at the Terrain Gallery in 1955 along with Paul Mommer, Leonard Baskin, Peter Grippe During the early 1960s Rivers lived in the Hotel Chelsea, notable for its artistic residents such as Bob Dylan, Janis Joplin, Leonard Cohen, Arthur C. Clarke, Dylan Thomas, Sid Vicious and multiple people associated with Andy Warhol Factory and where he brought several of his French nouveau réalistes friends like Yves Klein who wrote there in April 1961 his Manifeste de l'hôtel Chelsea, Arman, Martial Raysse, Jean Tinguely, Niki de Saint-Phalle, Christo & Jean Claude, Daniel Spoerri or Alain Jacquet, several of whom, like Rivers, left some pieces of art in the lobby of the hotel for payment of their rooms. In 1965, Rivers had his first comprehensive retrospective in five important American museums. His final work for the exhibition was The History of the Russian Revolution, which was later on extended permanent display at the Hirshhorn Museum and Sculpture Garden in Washington, DC. He spent 1967 in London collaborating with the American painter Howard Kanovitz. In 1968, Rivers traveled to Africa for a second time with Pierre Dominique Gaisseau to finish their documentary Africa and I, which was a part of the groundbreaking NBC series Experiments in Television. During this trip they narrowly escaped execution as suspected mercenaries. During the 1970s, Rivers worked closely with Diana Molinari and Michel Auder on many video tape projects, including the infamous Tits, and also worked in neon. Rivers's legs appeared in John Lennon and Yoko Ono's 1971 film Up Your Legs Forever. From 1940–1945 he worked as a jazz saxophonist in New York City, changing his name to Larry Rivers in 1940 after being introduced as "Larry Rivers and the Mudcats" at a local pub. He studied at the Juilliard School of Music in 1945–46, along with Miles Davis, with whom he remained friends until Davis's death in 1991. Larry Rivers was born in the Bronx to Samuel and Sonya Grossberg, Jewish immigrants from Ukraine. In 1945, he married Augusta Berger, and they had one son, Steven. Rivers also adopted Berger's son from a previous relationship, Joseph, and reared both children after the couple divorced. In 1949 he had his first one-man exhibition at the Jane Street Gallery in New York. This same year, he met and became friends with John Ashbery, and Kenneth Koch. In 1950 he met Frank O’Hara. This same year he took his first trip to Europe spending eight months in Paris, France, reading and writing poetry. Beginning in 1950 and continuing until Frank’s death in July of 1966, Larry Rivers and Frank O’Hara cultivated a uniquely creative friendship that produced numerous collaborations, as well as inspired paintings and poems. In 1951 Rivers’ works were shown at the Tibor de Nagy Gallery where he continued to show annually (except 1955) for about 10 years. In 1954 he had his first exhibition of sculptures at the Stable Gallery, New York. In 1955 The Museum of Modern Art acquired Washington Crossing the Delaware. This same year he won 3rd prize in the Corcoran Gallery national painting competition for “Self-Figure.” Rivers’ also painted “Double Portrait of Berdie” in 1955, which was soon purchased by the Whitney Museum. In 1957 he and Frank O’Hara began work on “Stones,” a collaborative mix of images and poetry in a series of lithograph for Tatyana Grosman company ULAE. During this time he also appeared on the television game show “The $64,000.00 Question” where along with another contestant, they both won, each receiving $32,000.00. In 1958 he again spent time in Paris and played in various jazz bands. In 1959 he painted Cedar Bar Menu...

Vintage 1960's Lithograph poster for Vancouver Canada art show. Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindners mother was owner o...

Black Tie, 1977 James Rosenquist, American, 1933–2017. Printed by Maurice Sanchez at Derrière L'Étoile Studios, Inc. Published by Sidney Singer Color lithograph on rolled white Arches Cover paper Blindstamp of a man in a hat, bottom right Hand signed in pencil. Dated 1977 lower right. Titled and numbered 76/100 lower left. Measures 73 1/2" x 37 James Rosenquist (November 29, 1933 – March 31, 2017) was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects. While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol, JIm Dine and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads. He was a 2001 inductee into the Florida Artists Hall of Fame. Rosenquist was born on November 29, 1933, in Grand Forks, North Dakota, the only child of Louis and Ruth Rosenquist. His parents were amateur pilots of Swedish descent who moved from town to town to look for work, finally settling in Minneapolis, Minnesota. His mother, who was also a painter, encouraged her son to have an artistic interest. In junior high school, Rosenquist won a short-term scholarship to study at the Minneapolis School of Art and subsequently studied painting at the University of Minnesota from 1952 to 1954. In 1955, at the age of 21, he moved to New York City on scholarship to study at the Art Students League, studying under painters such as Edwin Dickinson and George Grosz. Talking about his experience at the Art Students League, Rosenquist said "I studied only with the abstract artists. They had commercial artists there teaching commercial work, I didn't bother with that. I was only interested in -- see, here's how it started. I was interested in learning how to paint the Sistine Chapel. It sounds ambitious, but I wanted to go to mural school". While studying in New York, Rosenquist took up a job as a chauffeur, before deciding to join the International...

Created in 1981 as an original lithograph with screen-printing, Roy Lichtenstein’s, Study of Hands is hand-signed in pencil, dated and numbered, measuring 31 ¼ x 32 ¾ in. (79.5 x 83....

RICHARD LINDNER (American. 1901-1978) Hand Signed limited edition lithograph with blindstamp Publisher: Shorewood-Bank Street Atelier for the Skowhegan School of Painting and Sculpture 29.25 X 22 inches Richard Lindner was born in Hamburg, Germany. In 1905 the family moved to Nuremberg, where Lindner's mother was owner of a custom-fitting corset business and Richard Lindner grew up and studied at the Kunstgewerbeschule (Arts and Crafts School since 1940 Academy of Fine Arts). From 1924 to 1927 he lived in Munich and studied there from 1925 at the Kunstakademie. In 1927 he moved to Berlin and stayed there until 1928, when he returned to Munich to become art director of a publishing firm. He remained there until 1933, when he was forced to flee to Paris, where he became politically engaged, sought contact with French artists and earned his living as a commercial artist. He was interned when the war broke out in 1939 and later served in the French Army. In 1941 he went to the United States and worked in New York City as an illustrator of books and magazines (Vogue, Fortune and Harper's Bazaar). He began painting seriously in 1952, holding his first one-man exhibit in 1954. His style blends a mechanistic cubism with personal images and haunting symbolism. LIndner maintained contact with the emigre community including New York artists and German emigrants (Albert Einstein, Marlene Dietrich, Saul Steinberg). Though he became a United States citizen in 1948, Lindner considered himself a New Yorker, but not a true American. However, over the course of time, his continental circus women became New York City streetwalkers. New York police uniforms replaced European military uniforms as symbols of authority.At a time when Abstract Expressionism was all the rage, Lindner’s painting went against the current and always kept its distance. His pictorial language of vibrant colours and broad planes of colour and his urban themes make him a forerunner of American Pop Art. At the same time, he owes the critical tone of his paintings to the influence of European art movements such as Neue Sachlichkeit and Dada. His first exhibition did not take place until 1954, by which time he was over fifty, and, interestingly, it was held at the Betty Parsons Gallery in New York, a venue associated with the American Expressionists. From 1952 he taught at the Pratt Institute, Brooklyn, from 1967 at Yale University School of Art and Architecture, New Haven. In 1957 Lindner got the William and Norma Copley Foundation-Award. In 1965 he became Guest Professor at the Akademie für Bildende Künste, Hamburg. His Ice (1966, Whitney Museum of American Art) established a connection between the metaphysical tradition and pop art. He did work on Rowlux which was used by a number of pop artists (most notably Roy Lichtenstein)The painting shows harsh, flat geometric shapes framing an erotic but mechanical robot-woman. His paintings used the sexual symbolism of advertising and investigated definitions of gender roles in the media. While influencing Pop Art (Andy Warhol, Tom Wesselmann and Claes Oldenburg amongst others) his highly colourful, hard-edge style seems to have brought him close to Pop Art, which he rejected. Nevertheless, he is immortalised on the cover of the Beatles record "Sgt. Pepper’s Lonely Hearts Club Band" (1967) as a patron of the pop culture. He also did a tapestry banner with the Betsy Ross Flag...