1960s Art

Medium: lithograph (after the watercolor). Printed in 1962 at the Mourlot atelier for "Jerusalem Windows". This piece was executed by Chagall in preparation for his famous stained-gl...

Medium: original lithograph. Reference: Mourlot 282. Printed in Paris in 1960 at the Mourlot atelier for the frontispiece of the "Chagall Lithographe I" catalogue. Sheet size: 12 1/2...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on ...

Slim And Sphinx by Slim Aarons circa 1964:  New York DJ Slim Hyatt at work in Shepheard’s night club whose decor recreates a famous Cairo bar. (Photo by Slim Aarons) Limited editio...

Dining Al Fresco Capri 1980 by Slim Aarons Italian artist and actress Domiziana Giordano, Italian author Francesca Sanvitale (1928 - 2011), Dino Trappetti and Umberto Terrelli dinin...

Medium: original lithograph. Printed in 1960 for the "Poetes, Peintres, Sculpteurs" issue of the art revue Derriere le Miroir (issue number 119) and published in Paris by Maeght. Siz...

Medium: lithograph (after the drawing). Printed in 1966 at the Mourlot Freres atelier for the "Ceiling of The Paris Opera" book, exploring Chagall's designs for The Paris Opera. Size...

Pablo PICASSO (1881-1973) Madoura, Colorful Bird, 1967 Lithograph poster (Mourlot workshop) On paper 67 x 48 cm (c. 27 x 19 in) Lilmited edition of 1000 proofs (unumbered) REFERENC...

6049 Vintage oversized oil painting seaside fmily gathering Ornate frame Image size 23.5x35.5"

EMMY LOU PACKARD (1914 – 1998) ARTICHOKE PICKER, 1968 Color linocut, signed in pencil, unnumbered. 22 7/8” x 17 1/8” sheet 24” x 15 ¼” Full margins with deckle edges. Good conditio...

Gelatin silver press photograph. An elegant and spontaneous press photograph depicting Audrey Hepburn, one of the most beloved and enduring icons of twentieth-century cinema, seated...

Medium: original lithograph. Printed in Paris in 1964 by Mourlot Freres and issued in an edition of 2000 on Arches wove paper. Size: 10 x 7 1/2 inches (255 x 185 mm). Not signed.

Medium: original lithograph. Printed in 1961 in an edition of 1200 for the wrap-around dust-jacket cover of the "Miró 1959-1960" catalogue, published by the Pierre Matisse Gallery. S...

Offset lithograph poster invitation Unframed and unsigned Published by Leo Castelli Gallery at 4 East 77th Street on the occasion of the exhibition in November, 1969 The artwork dep...

Toshi Yoshida, 'Woman In Bagdad', color woodblock print, 1954, edition not stated. Signed, dated, and titled, in pencil. A fine, richly-inked impression, with fresh colors, on cream-wove Japan paper; the full sheet with margins (1/2 to 7/8 inch); minor toning in the margins, otherwise in excellent condition. Self-carved, self-printed. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Exhibited: 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp.168-169; Eugene M. Skibbe, Yoshida Toshi 1911-1999: Diversity, Change, and Continuity in the Yoshida Art Tradition, Andon 53, Society for Japanese Arts, 1996, pp. 5-14; Kendall H. Brown, Yoshida Toshi: The Nature of Tranquility, in, A Japanese Legacy: Four Generations of Yoshida Family Artists, The Minneapolis Institute of Arts, 2002, pp. 72-80; p. 91, no. 55 Exhibition: Japan & Beyond: The Yoshida Family Legacy in Japanese Woodblock Prints, curated by Kendall Brown and Quyen Le, The Ruth and Sherman Lee Institute for Japanese Art, Hanford, CA. February 3, 2004 - March 27, 2004. Collections: Art Institute of Chicago, Clark Center for Japanese Art and Culture, Minneapolis Institute of Art, University of California Merced, University of Oregon (The Lavenberg Collection of Japanese Prints). ABOUT THE ARTIST Yoshida Toshi (1911-1995) began training at the age of 14 under his father, Yoshida Hiroshi, one of the most acclaimed artists of the Japanese 20th-century printmaking revival movement shin-hanga (’new prints’ created in the traditional collaborative system of Japanese printmaking). He studied from 1932 to 1935 at the Taiheiyo-Gakai (Pacific Painting Association), co-founded by his father. Before the Pacific War, Toshi traveled widely with his father in Asia, Europe, Egypt, and the United States. Later he continued his worldwide travels, especially in Mexico, the United States, Canada, and Africa. Following his father’s death in 1950, Toshi began his very personal exploration of abstraction, joining the sôsaku-hanga movement (’creative prints’ wherein the artist is creator, carver, and printer). During this richly creative period (1954 to 1973), Toshi created over three hundred nonobjective designs. In the early 1960s, Toshi returned to large-scale figurative work, concentrating on scenes of African wildlife in its natural habitat, and in 1984 he published the first of many illustrated children's books on African wildlife (Dobutsu Ehon Shirizu), which he continued to produce until the early 1990s. In 1966 he published a book with the artist Yuki Rei...

A vibrant and whimsical first edition lithograph from Marc Chagall’s celebrated Lithographs Volume II, showcasing the artist’s signature dreamlike composition. Floating figures, play...

➡️ Landscape River scene⬅️ ⏩It is signed Bernard Héranval⏪ Rouen on the banks of the Seine ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size...

Signed lower right 'John R. Nobriga' (American, 20th Century) and dated 1962. Additionally signed and dated verso and titled 'Dancers'. A colorful mid-century oil on paper showing ...

Medium: original lithograph. Printed in Paris in 1967 by Clot, Bramsen et Georges and issued in an edition of 2500 for "Les Temps Situationistes" (The Situationist Times -- a radical...

Bubieris Laimonis (1934-2012)

Medium: original lithograph with embossing. Printed in 1967 for the art revue Derriere le Miroir (issue number 168) and published in Paris by Maeght. Size: 15 x 11 inches (380 x 277 ...

Medium: pochoir (after the mixed media collage). Printed in Paris at the atelier Daniel Jacomet and published in 1960 by Berggruen. The image measures 5 x 3 7/8 inches (130 x 98 mm)....

5178 Antique American modernist trees landscape 1961 image size 16x24"

Medium: original lithograph. Printed in Paris in 1967 at the atelier of Clot, Bramsen et Georges and published in an edition of 2500 for "Les Temps Situationistes" (The Situationist ...

Color screenprint on rose-toned wove paper, 1966 Limited Edition of 500 (only a small number, including the present work, were hand signed by the artist) Given that this is such an e...

Salvador Dali (1904-1989) Paradadise 6 - The Heaven of Mercury From the Divine Comedy (Dante) Woodcut in color Signature printed in the plate 1960/63 On BFK Rives vellum 32,8 x 26,4...

Robert MOTHERWELL Abstract Composition Original etching and aquatint Unsigned On Johannot vellum 37.5 x 28 cm (c. 15 x 11 inch) Published by Lazar Vernet in 1967 and limited to 200 ...

Ossip Zadkine — a prominent French avant-garde sculptor of Jewish descent, born in Vitebsk. He became one of the key representatives of the School of Paris and a recognized master of...

Medium: original lithograph. Printed in 1963 at the Atelier Pons and published in Paris by San Lazzaro for the art revue XXe Siecle. Size: 12 1/4 x 9 1/2 inches (310 x 243 mm). Not s...

Mediterranean Catalan Village and River Landscape Oil Painting Artist: Francesc / Francisco Galofré Surís Title: Catalan Village and River Landscape Medium: Oil on canvas Dimensions...

Vintage original poster for an exhibition of original lithographs by Joan Miró, titled Les Fauves, held at Le Vallauris in Paris from April 5 through May 1, 1966. This poster reflects Miró’s distinctive visual language—playful abstraction, bold forms, and a vibrant sense of movement—capturing the spirit of his graphic work during a highly creative period of his career. Produced in the pre-digital poster era, it exemplifies the authenticity and craftsmanship of mid-20th-century exhibition materials. A collectible and visually engaging piece, ideal for collectors of modern art, Miró’s lithographic work, and vintage French exhibition posters...

Created in 1967, this original Soviet poster, titled "Glory to Our Beautiful Motherland!" (Славься, Родина наша прекрасная!), is a striking example of late Soviet graphic design. Com...

Medium: original lithograph. Printed in 1967 for the art revue Derriere le Miroir (issue number 168) and published in Paris by Maeght. Size: 15 x 11 inches (380 x 277 mm). There is p...

Medium: original lithograph. Printed in Paris in 1967 by Clot, Bramsen et Georges and issued in an edition of 2500 for "Les Temps Situationistes" (The Situationist Times -- a radical...

Medium: original lithograph. Printed in Paris in 1967 at the atelier of Clot, Bramsen et Georges and published in an edition of 2500 for "Les Temps Situationistes" (The Situationist ...

Côte d'Azur is a lithograph designed by Pablo Picasso in collaboration with Henri Deschamps, depicting a view from Picasso's balcony overlooking the Côte d'Azur. Created in 1962, thi...

Medium: original lithograph. This Beaudin lithograph was printed in Paris in 1961 by the Mourlot Freres atelier and published by Editions Verve. Size: 11 1/2 x 8 3/8 inches (293 x 21...

Medium: pochoir (after the mixed media collage). Printed in Paris at the Daniel Jacomet atelier and published in 1960 by the Berggruen Gallery. Image size: 5 x 3 7/8 inches (130 x 98...

Mid-Century Modern wrought iron sculpture a person with oversize top, shorts, and carrying a hat, signed, artist's monogram and cipher, further mounted on a plaster base. 28" H. This a unique piece. It is interesting in that it speaks of a transition, leading into the later aluminum public pieces that kind of defined his work in the 70's. According to his estate this is most probably cast bronze. It might possibly be wrought iron.. William Dickey King was born in 1925 in Jacksonville, Florida and grew up in the Coconut Grove neighborhood of Miami. As a boy, William King made model airplanes and helped his father and older brother build furniture and boats. “I was 19, 20, my mother gave me a hundred bucks, says, ʻGet out of this state and don’t come back until you’re 65; there is nothing here for you,’ ” Bill King recalled in a video interview for the Smithsonian museum. He came to New York, where he attended the Cooper Union and began selling his early sculptures even before he graduated. He later studied with the sculptor Milton Hebald and traveled to Italy on a Fulbright grant. He was a contemporary, at the Cooper Union, of Alex Katz and Lois Dodd, his first wife, and remained close in many ways to their common aesthetic grounding, shared also with younger sculptors such as Red Grooms and Marisol Escobar. The hallmark of King’s early work was radical experiment keeping company with social connection and hedonism. The mix of big, important, innovative ideas and immediate, sensory, in-the-moment experience was a kind of visual jazz. For this was not just the time of Franz Kline’s big open defiant brushstrokes and Jackson Pollock’s all-over mists of intricately drooling line, but of Charlie Parker and Dizzy Gillespie. If we look at the works that King made in the early 1950s when he got back from his Fulbright to Italy we see free, experimental, open forms that take their cue from jazz as much as art in their fusion of virtuosity and cool.American sculptor King is most noted for his long-limbed figurative public art sculptures depicting people engaged in everyday activities such as reading or conversing. He created his busts and figures in a variety of materials, including clay, wood, metal, and textiles. Mr. King worked in clay, wood, bronze, vinyl, burlap and aluminum. He worked both big and small, from busts and toylike figures to large public art pieces depicting familiar human poses — a seated, cross-legged man reading; a Western couple (he in a cowboy hat, she in a long dress) holding hands; a tall man reaching down to tug along a recalcitrant little boy; a crowd of robotic-looking men walking in lock step. Mr. King’s work often reflected the times, taking on fashions and occasional politics. In the 1960s and 1970s, his work featuring African-American figures (including the activist Angela Davis, with hands cuffed behind her back) evoked his interest in civil rights. But for all its variation, what unified his work was a wry observer’s arched eyebrow, the pointed humor and witty rue of a fatalist. His figurative sculptures, often with long, spidery legs and an outlandishly skewed ratio of torso to appendages, use gestures and posture to suggest attitude and illustrate his own amusement with the unwieldiness of human physical equipment. His subjects included tennis players and gymnasts, dancers and musicians, and he managed to show appreciation of their physical gifts and comic delight at their contortions and costumery. His suit-wearing businessmen often appeared haughty or pompous; his other men could seem timid or perplexed or awkward. Oddly, or perhaps tellingly, he tended to depict women more reverentially, though in his portrayals of couples the fragility and tender comedy inherent in couplehood settled equally on both partners. His first solo exhibit took place in 1954 at the Alan Gallery in New York City. William Dicky King was elected to the American Academy of Arts and Letters in 2003, and in 2007 the International Sculpture Center honored him with the Lifetime Achievement in Contemporary Sculpture Award. Mr. King’s work is in the collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum and the Museum of Modern Art in New York and the Hirshhorn Museum at the Smithsonian American Art Museum in Washington, among other places, and he had dozens of solo gallery shows in New York and elsewhere. Reviews of his exhibitions frequently began with the caveat that even though the work was funny, it was also serious, displaying superior technical skills, imaginative vision and the bolstering weight of a range of influences, from the ancient Etruscans to American folk art to 20th-century artists including Giacometti, Calder and Elie Nadelman. The New York Times critic Holland Cotter once described Mr. King’s sculpture as “comical-tragical-maniacal,” and “like Giacometti conceived by John Cheever.” From an article by David Cohen "In a career that ran in tandem with the hegemony of formal abstraction in sculpture, Bill King inevitably struggled with the prejudice that sculpture full of humanity and humor can’t be quite as serious as sculpture devoid of them. But the tide has clearly turned in ways that ought to work in King’s favor, with an increasing number of sculptors, fêted internationally, who are producing work that looks remarkably close in spirit, if not quite as regal in sheer mastery of form, as his own. When art historians of the future connect the dots of modern sculpture then artists like Franz West, Stephan Balkenhol, Huma Bhabha...

Medium: 12 lithographs (after the watercolors). A beautiful collection of lithographs, printed in 1962 at the Mourlot atelier for "Jerusalem Windows". These were executed by Chagall ...

Medium: original lithograph. Printed in 1961 for Derrière le Miroir (issue number 124) and published in Paris by Maeght. Size: 15 x 22 inches (377 x 557 mm). There is text on verso w...

Medium: original lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 160) and published in Paris by Maeght. Size: 15 x 11 inches (378 x 277 mm). Published ...

Artist: Pablo Picasso (Spanish, 1881-1973) Title: "L'Écuyère (The Horsewoman)" *Unsigned edition, though signed by Picasso in the plate (printed signature) lower right Year: 1960 Med...

Medium: original lithograph. Printed in Paris in 1967 by Clot, Bramsen et Georges and issued in an edition of 2500 for "Les Temps Situationistes" (The Situationist Times -- a radical...

Artist: Marisol Escobar (known mononymously as Marisol) Offset lithograph postcard Published by the Whitney Museum of American Art, 1964 Hand signed and dated 1977 by Marisol in ink ...

This 1967 original travel poster was created by the painter Yves Brayer for the French national railway company SNCF. Produced as part of a series promoting tourism across France, th...

Title: Canyelles Artist: Ramon Sanvisens i Marfull (Barcelona, 1917 – 1987) Technique: Oil on canvas Dimensions: 60 × 73 cm — (23.6 × 28.7 in) Support / Mounting: Canvas on stretcher...

This vibrant 1961 poster by Pablo Picasso celebrates the light, color, and poetic atmosphere of the French Riviera. Created as a lithographic composition, Côte d’Azur reflects the ar...

Medium: original lithograph. Printed in 1967 for the art revue Derriere le Miroir (issue number 168) and published in Paris by Maeght. Size: 15 x 11 inches (380 x 277 mm). There is p...

Book page 133 in Chagall Lithographe II (1957-1962), Andre Sauret, Paris, 1963. Reproduction of lithograph created in 1960. Book text in French by Fernand Mourlot. It is the second...

Marilyn Monroe in her last formal photo shoot captured by legendary photographer Allan Grant on July 7, 1962. In the summer of 1962, LIFE magazine sent two journalists to spend time...

5-3365 Oil on artist board of on enchanted lily pond Set in an ornate hand painted wood frame Image size 12.5x15.5"

Medium: original lithograph. Printed in Paris in 1964 by Mourlot Freres and issued in an edition of 2000 on Arches wove paper. Size: 10 x 7 1/2 inches (255 x 188 mm). Not signed.

Medium: pochoir (after the lithograph). Printed in 1960 at the Jacomet atelier and published by Berggruen in an edition of 1500. Size: 8 1/2 x 9 inches (218 x 227 mm). There is anoth...

Vintage American cubist abstract oil painting. Oil on canvas. Framed. Unsigned. Measuring: 49 by 37 inches overall, and 48 by 36 painting alone. Excellent condition, ready to hang a...

André DUNOYER DE SEGONZAC (1884-1974) The Little Road, 1965 Lithograph (Mourlot workshop) Signed in the plate On vellum 50 x 65 cm (c. 19.7 x 25.6 in) Excellent condition

Antique American modernist portrait oil painting. Oil on canvas. Signed. Framed. Measuring: 19 by 17 inches overall, and 13 by 11 painting alone. Excellent condition, ready to hang ...

'Landscape with Man and Goats', gouache on paper, by Raymond Guerrier (circa 1960s). After the artist moved from Paris to the South of France, he started painting landscapes illumina...

Mid Century still life oil painting on wood of tulips in a vase signed in the bottom right by the artist Louis Jacques Vigon (1897-1985). A delightful floral oil painting with stron...

This is an above the edition impression of an original lithograph by Marc Chagall, printed in 1963 by Mourlot and published by André Sauret, Paris. It appears as page 93 in Chagall L...