1960s Abstract Prints

Signed Lower Right Numbered 61/200 Sight Size: 27.5 x 21.5 Framed Size: 31.5 x 24.5 Andre Masson was born in Balagne, France on January 4,1896. He was an engraver, sculptor, stage d...

Signed Lower Right Numbered Lower Left 166/200 Framed Size: 33 x 25 inches Andre Masson was born in Balagne, France on January 4, 1896. He was an engraver, sculptor, stage designer...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Etching and aquatint on zinc, 1962 Handsigned by the artist in pencil and numbered 69/75 Printer : Jean Signovert (Paris) Catalog : Schneider IX 76.00 c...

1965 Screenprint in colors, on wove paper Image/sheet: 11 3/5 x 11 1/2 in. Edition of 200 Signed, dated and numbered in pencil, lower margin Framed, excellent condition

"Cali" is a typical motif by Maurice Estève. The lithograph in colours was published in an edition of 100. 49,6 x 65 cm. Signed and numbered.

Title: Visione Prospettica leggermente laterale per Progetto di Metallo Monocromatico Nero di M. 2x1 Original cyanotype. Exhibitions: - Kunsthalle, Biefeld 1986, no. 56, p.112. - E...

Joan Miro Album 19, Plate 1 (Surrealist Portrait) Original Lithograph Handsigned in pencil Numbered / 75 On Arches 66 x 50 cm (c. 26 x 20 in) REFERENCES : Catalog raisonne Maeght /...

TECHNICAL INFORMATION Alexander Calder Acier du Constructeur, 1965 Lithograph 21 7/16 × 29 3/8 in 54.5 × 74.6 cm Edition of 75 Condition: This work is in excellent condition

Signed in pencil, numbered from the edition of 75. Printed on Mandeure rag paper by Arte Adrien Maeght, Paris. Published by Maeght editeur, Paris. (Dupin 440).

Alistair Grant was a familiar feature of the London art scene. Best known as a printmaker, his entire teaching career was spent in the printmaking department at the Royal College of Art, where he was to become Professor. Over the years he taught printmaking to many who were to become leading UK artists. Grant was at the top of his profession and a groundbreaker in his explorations of mixed media techniques. Grant was also a wonderful painter. In the early 1980s his imagery had turned to an open expressionist style, with sweeping brush marks and the introduction of new vibrant colour. Inspired by the Normandy coastline around Etaples and Le Touquet. Grant would create cyphers from the shapes and forms in the landscape, which he would offset against curtains of colour. They evoke bright or misty days, blazing skies or sunsets, beaches or harbours. The paintings and prints are descriptions of places he loved and constantly returned to. One could describe him as a French reflection of the St. Ives School where painters explored the landscape in similar fashion, as they still do. There is a wonderful sense of freedom in these images, and a great joie de vivre. Grant was a supreme colourist. He also co-authored an important book on the life and works of fellow English artist Henry Moore, whom his abstract figurative style resembles. This print is from the late 1960s and show the strong influence of figurative abstraction and surrealist elements in his work. Although best known as a printmaker, Grant also painted throughout his career and in the 1980s he adopted an expressionist style using vibrant colours. He was born in London and studied at Birmingham College of Art (1941-43). After serving during the war, Grant returned to art school and the Royal College, where he was taught by Carel Weight and Ruskin Spear. Grant was to work in the printmaking department of the Royal College for 35 years (1955-90), ending his career as Emeritus Professor of Printmaking at the RA. He showed with Julian Trevelyan. Grant showed at the Royal Academy, Artists International Association, and New English Art Club, and was a prize-winner at the Krakow Print Biennale in 1972. The TATE, The Victoria & Albert Museum, British provincial and many overseas galleries hold Grant’s work. His work is amongst the finest of modern British printmaking alongside richard smith, joe tilson, peter blake, patrick caulfield, alan davie, terry frost, david hockney and howard hodgkin. Select Group Exhibits 1951 New Editions Group,Auckland,New Zealand 1952-54,78 Redfern Gallery, London 80,83,84,86 1956 Nutida Engelsk Grofik, Stockholm 1957 National Arts Council of Southern Rhodesia 'Looking at People', South London Art gallery 1959 Tel Aviv Museum, Israel Arte Britonico Maderno Figurotiro, Galeria,Buchloz, Bogota The London Group 1960 Graven Image, Whitechopel Gallery, London Sixteen Pointers, A I.A. Gallery, London 1961 Museo de Arte, Barcelona Senfelder Group, Arts Council, London 1962 Towards Art Gulbenkian,R.C.A .London Contemporary British Pointers, Birmingham 1964-66 Curwen Gallery 1966 Crabowski Gallery, London 1967 A.A.A. Gallery, New York Schuman Gallery, New York 1968 Camden Arts Centre, London 1969 Pratt Centre, New York Art for lndustry, Arts Council, London 1970 University of South Florida, Miami 1971 Portland Museum,Oregon 1972 Art...

Plate 1 from 'Judgements'. Signed in pencil, from the edition of 100. Printed on Arches wove paper by Atelier Georges Visat, Paris. Published by Blue Moon Gallery, New York. Plat...

Signed in pencil, from the edition of 85. Printed on Lana wove paper and published by Georges Visat, Paris. Plate: 42 x 32.7 cm. (Sabatier 194).

Signed in pencil, numbered from the edition of 150. Printed by Atelier Maeght, Levallois. Published by Maeght, Paris. (Koelen 60002).

1963 Lithograph in colors, on Rives BFK paper Sheet: 23 7/10 x 18 7/10 in. (60.2 x 47.5 cm) Edition of 20 Signed and numbered in pencil, lower margin Unframed, excellent condition

Alexander Calder - Original Lithograph - Composition 1972 From the art review XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unnumbered as issued

Hand signed rf Lichtenstein in pencil and numbered lower right margin. Published by Leo Castelli Gallery, New York, Printer Chiron Press, New York. The Prints ofRoy Lichtenstein A Ca...

Joan MIRO Ouvrage du vent III, 1963 Original etching and aquatint Handsigned in pencil Numbered 32/75 On BFK Rives vellum 52 x 80 cm (c. 21 x 32 in) Published by Maeght Éditeur, Pa...

1963 Offset lithograph in colors, on wove paper Sheet: 17 1/8 x 23 1/8 inches Edition unknown Signed in pencil on lower right Framed, pristine condition

'Winter Silhouettes,' a small and delicate print, is an original offset lithograph by the Milwaukee artist Schomer Lichtner. The composition displays registers of foliage, emerging from the white of the paper as though emerging from the snow-covered ground. The artwork is thus plays with the materials of printmaking; the paper is both the support and the primary indication of the season. The subtle texture of the tooth of the paper also adds life to the image, giving the snow a wind-swept, creature trodden surface. The free forms of the grasses and leaves resemble the lyrical mid-century works of the French artist Henri Matisse, which combined with these material concerns demonstrate Lichter's modern sensibilities. 3.75 x 2.75 inches, image 5.5 x 4.5 inches, paper 9.25 x 7.75 inches frame Signed and dated in the stone, lower right Framed to conservation standards using 100 percent rag matting, museum glass, and housed in a modern silver moulding Milwaukee artist Schomer Lichtner was well known for his whimsical cows and ballerinas and abstract imagery. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller. Lichtner and his wife, Ruth Grotenrath (1912-1988), are celebrated as Milwaukee’s first couple of painting and are regarded as major Wisconsin artists. Lichtner’s impressive production, perseverance, longevity, and positive approach to his life and art made him and his work distinctive and much loved by his many admirers. His work is currently represented in collections at the Milwaukee Art Museum, the John Michael Kohler Art Center, the West Bend Museum, and in the collections of many individuals. Books on the lives and art work of both Lichtner and Grotenrath are in progress and it is anticipated that they will be published next year. Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet...

Sonia DELAUNAY Composition in Green, Blue and Red, 1969 Original lithograph (Printed in Mourlot workshop) Unsigned On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro...

Joan MIRO (1893-1983) King Ubu : Birds, 1966 Original lithograph Handsigned in pencil Numbered / 75 copies On Arches vellum 54 x 74.5 cm (c. 21.3 x 29.3 inches) REFERENCES : Catalo...

Lithograph, 1961 Catalog : Vallier171 Mourlot77 32.00 cm. x 25.00 cm. 12.6 in. x 9.84 in. (paper) 23.00 cm. x 19.00 cm. 9.06 in. x 7.48 in. (image) Handsigned by the artist in penc...

Lithograph, 1961 Catalog : Vallier 171 Mourlot 78 32.00 cm. x 25.00 cm. 12.6 in. x 9.84 in. (paper) 27.00 cm. x 20.00 cm. 10.63 in. x 7.87 in. (image) Handsigned by the artist in p...

Joan MIRO Ubu : The Family Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REFERENCES ...

Joan MIRO Ubu : The Gold Prospectors Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies R...

Joan MIRO Ubu : The Banquet Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REFERENCES...

Joan MIRO Ubu : King with two Women Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REF...

It is an abstract print which shows 4 triangles in 4 squares. It is dominated by strong red, other parts are printed in different red shades and black.

It is an abstract print which shows 4 triangles in 4 rectangles. It is dominated by a dark turquoise, other parts are printed in its shades and black. The 4 triangles are done in a b...

Stanley William Hayter Araignee 1967 Etching, Edition of 50 Paper size: 65 x 49.5 cms (25 1/2 x 19 1/2 ins) Plate size: 39.5 x 24.7 cms (15 1/2 x 9.7 ins)

Gustave SINGIER Abstract Landscape wit Red Sun, 1966 Original lithograph Handsigned in pencil Numbered / 200 On vellum 32 x 25 cm (c. 13 x 10 inch) Excellent condition

Miroslav Sutej was perhaps best known for designing the current flag of Croatia. This print is a great example of his bold abstract style. Edition: 22/...

Screenprint in colors, on wove paper Sheet: 30 3/8 x 22 1/2 in. (77.2 x 57.2 cm) Edition of 75 Signed in pencil, dated and inscribed 'Artist Proof' on lower margin

Sheet size: 24 1/8 x 24 1/8 inches Frame size: 26 3/4 x 26 3/4 inches Printer: Edition Domberger, Germany Publisher: Edition Domberger, Germany Edition: 125, plus proofs Catalogue r...

Pablo Picasso "Diurnes" (Femme Assise En Pyjama De Plage II) 1962 Linocut printed in ochre and brown, 1962, on Arches paper Inscribed "Epreuve D'Artist" (Artist Proof) lower left, as...

Bernhard Heiliger Title: Gestural Abstraction - Untitled Medium: Lithograph on Japanese paper Year: 1966 Signed, dated, numbered or inscribed Edition: 65 + h.c. Size: 26.9 × 20.3 on ...

Joan MIRO Album 19 : Plate 4, Man Handling his Head Original lithograph in black and white Signed in pencil with the monogram Numbered / 75 copies On vellum 66 x 51 cm (c. 26 x 20 i...

Color Lithograph Ed. 15/100 Signed and Numbered

Signed in pencil and inscribed. An arist's proof aside from the edition of approximately 20. Printed on cartridge paper by the artist's father, Roy C. Judd. Published by the artist. ...

Printer: Imprimerie Arte, Paris Publisher: Maeght Editeur, Paris Edition size: 75, plus proofs Catalogue raisonné: Axsom 29 Signed and numbered in pencil, lower margin

Original etching, aquatint, drypoint and carborundum printed in colors on wove paper bearing the “ARCHES / FRANCE” watermark Hand-signed in pencil lower right Miró. A superb, richl...

Original etching, aquatint and carborundum printed in colors on Mandeure rag paper.  Hand-signed in pencil lower right center Miró. A superb impression of the definitive state...

Signed and dated A/66. Color Screenprint. Published by Yves-Sillman, Inc., New Haven. Sheet 1; x 17" Image 11 x 11.No 37/200 of an Edition of 200. Ref: HH 168.

Printer: Imprimerie Maeght, Levallois-Perret, France Publisher: Maeght Editeur, Paris Edition size: 75, plus proofs Catalogue raisonné: Axsom 30 Signed and numbered, lower margin

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...

Artist: Jasper Johns, American (1930 - ) Title: 0-9, Number 2 Year: 1963 Medium: Lithograph, signed in pencil Size: 13 in. x 9.75 in. (33.02 cm x 24.77 cm...