1970s Art

Julijs Vilumainis (1909–1981) Asters. 1979, oil on board, 54,5x42 cm

Artist: Gloria Vanderbilt, American (1924 - ) Title: Autumn Year: circa 1970 Medium: Silkscreen on Arches Paper, Signed and numbered in Pencil Edition: 250 Size: 31 in. x 24 in. (78....

Image dimensions: 23.5 x 17.5 cm Tripartite composition is an original black and white aquatint, chalcography and etching on paper, realized by the Italian artist Cesare Peverelli (...

Camille Hilaire - Nature Signed Original Lithograph Edition: 38 x 26 cm Framed Edition: 17/175 Camille Hilaire (1916-2004) Camille Hilaire began painting from a young age. At fif...

Mark TOBEY (1890-1976) Burning Devouring Love, 1976 Original color screenprint Signed with the artist's stamp Numbered / 77 copies On Auvergne vellum 64.5 x 50.5 cm INFORMATION: Au...

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...

Oil on canvas signed by American artist, John Little (1907-1984) and dated 1970-71 in gilded trimmed, wood frame. Little, who attended the Buffalo Fine Arts Academy and worked under ...

ANTONIO FERNÁNDEZ REBOIRO Silkscreen of ALICIA ALONSO in the Ballet CARMEN 1970.....SPECIAL WINTER SALE PRICE....$790 Pop-Op Art original vintage silks...

Vibrant modernist oil painting of an abstract lighthouse by Costello (American, 20th Century), circa 1970. Purchased as part of collection. Signed and dated on verso. Unframed. Image...

"Judy Garland" Legendary Film and Recording Star. Gay Icon. 20th Century Litho Al Hirschfeld (1903 - 2003) Judy Garland 20 x 15 inches (sight) Etching 26 1/2 x 14 3/4 inches Framed...

Artist: Juan Garcia Ripolles, Spanish (1932 - ) Title: Woman in Yellow Year: 1970 Medium: Oil on Canvas, signed l.l. Size: 15 in. x 21.75 in. (38.1 cm x 55.25 cm) Frame Size: 16 x 23...

ARTIST: Salvador Dali TITLE: Retrospective The Agony of Love MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine and Levine for DALART EDITION NUMBER: 126/350 MEASUREMENT...

An oil painting by Lowell Nesbitt from 1973. A very large scale, hyper-realist painting of a rose in black background. Artist: Lowell Blair Nesb...

Engraving Handsigned by the artist in pencil and annotated EA Artist proof 91.00 cm. x 63.00 cm. 35.83 in. x 24.8 in. (paper) 76.50 cm. x 58.50 cm. 30.12 in. x 23.03 in. (image) Th...

Andy Kissing Dali, 1978 by Christopher Makos is an 8 x 10in vintage gelatin silver print on fiber paper of celebrity artists Andy Warhol and Dali locked in an embrace. The photograph is stamped (black ink) on verso (photo back). Provenance: Private Collector *** Artist’s Bio: Christopher Makos (1948- ) is an American photographer and visual artist. He studied architecture in Paris and was an apprentice to Man Ray. Andy Warhol was Makos' good friend and frequent portrait subject. His photographs of Andy Warhol have been exhibited in galleries and museums, including the Guggenheim Museum in Bilbao,Tate Modern in London, Whitney Museum of American Art in New York, IVAM in Valencia (Spain), Reina Sofia Museum in Madrid, among others. Makos’ pictures have appeared in publications, including Paris Match and the Wall Street Journal. The visual artist is the author of numerous books, such as Warhol/Makos In Context (2007), Andy Warhol China...

ELEGANCE is an original hand pulled color lithograph by the Russian-born French artist Romain de Tirtoff (23 November 1892 – 21 April 1990) known by the pseudonym Erté. Erté, who is best known for his elegant fashion designs which capture the Art Deco period in which he worked. One of his earliest successes was designing for the French dancer Gaby Deslys who died in 1920. His delicate figures and sophisticated, glamorous designs are instantly recognizable, and his ideas and art still influence fashion into the 21st century. His costumes and set designs were featured in the Ziegfeld Follies of 1923 and many productions of the Folies Bergeres. ELEGANCE is a stylish Art Deco fashion portrait portraying a sophisticated, fashionable woman wearing a soft, elegant light blue coat with luxurious white fur collar...

Poolside Chez Holder Guests by the pool at Albin Holder’s home in Palm Beach, Florida, May 1970. Slim Aarons Archival Pigment Print. Printed 2024. Slim Aarons Estate Edition. Produ...

Michael Challenger Heaven Forbid - 1979 Print - Silkscreen 17.5'' x 25'' Edition: Signed in pencil, titled, dated and marked 291/300 Challenger's w...

Melanie Sherman Vintage Moth III (Hand-Painted, Gold Luster, Vintage Imagery) Porcelain, Glaze, Overglaze, Chinapaints, 24k German Gold Luster Year: 2025 Size: 4.5 x 6 x 0.5 inches S...

Title: House Landscape Medium: Watercolor on paper Style: Impressionist Size: 14"" x 21 1/2"" Frame Size: 21"" x 28 1/2"" Age: 1970s Signature: Taeko Yonetani Provenance: ...

Yellow Iris Lowell Blair Nesbitt, American (1933–1993) Date: 1978 Screenprint on Arches, signed, numbered and dated in pencil Edition of 175 Image Size: 24 x 24 inches Size: 29.5 x 2...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 201, published by Aimé Maeght, Éditeur, Paris; printed ...

A large (48 x 48 inch) painting of a scene in the art studio by American artist John Winslow (1938 - ).

1970s Alexander Calder Card Player Lithograph from Derriere Le Miroir. Lithograph in colors; circa 1975. 11 x 15 inches. Good to very good overall vintage condition with bright colo...

“Spring In The Canyon” oil on linen canvas, signed and dated 1970 lower right corner. Hans Burkhardt (1904-1994) Canvas: 32”H x 42”W. Artist f...

Artist: David Hockney Title: Two Peppers (S.A.C. 156) Year: 1973 Medium: Etching printed in colors on Arches paper Sheet: 15 × 20 in (38.1 × 50.8 cm) Edition: 5/100; signed, numbered...

Harald Dry Schmidt (1933 - 1979) Outsider Art San Francisco Still Life Mixed Media on Paper Affixed to Masonite 1977 14" x 17" unframed

"PEGASUS" (1976) by Norbert Matzdorf Woodcut print on paper Limited Edition, numbered (8.3), dated and hand-signed by the artist 27,9 x 38,3 cm Norbert Matzdorf (1951 – 2013) After ...

Joan Miró Les Revolutions Sceniques Du XXe Siecle - II Color lithograph Year: 1975 Size: 12.2×9.4in on 14.7×10.4in Unsigned as issued From an edition with unknown size (pres. <1,500...

Antique American modernist architectural iron gate oil painting. Oil on canvas. Signed. Framed.

Hand signed by Andy Warhol & Mick Jagger, numbered in pencil. Number AP 19/50 (aside from the main edition of 250). Screenprint on Arches Aquarelle (Rough) Paper. Printed by Alex...

Noel Daggett, American (1925 - 2005) - Last to Arrive, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 19 x 23 inches, Size:...

Jose Vives-Atsara Catalonia Village (1919-2004) San Antonio Artist Image Size: 24 x 30 Frame Size: 34 x 40 Medium: Oil Applied by Palette Knife Dated 1973 " Village in Catalonia" Spa...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”[2] What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.[3] Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”[4] In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Open and Limited Edition Silver Gelatin Prints Hand Signed by Bob Gruen 8" x 10" Unframed Open Edition 11" x 14" Unframed Open Edition 16" x 20" Unframed Open Edition 20" x 24" U...

Ostrich is an artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Numbered, Edition of 150 pieces.

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 35x27 cm. Frame size 40x32 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Adolph Gottlieb (1903-1974). NIGHT GLOW. Etching and aquatint in colors, 1971. Edition of 65. Signed and dated in pencil, numbered 17/65 in pencil. Published and printed by 2RC Edizi...

"Association Day" by Morakinyo Femi captures the essence of everyday life with remarkable finesse. In this captivating artwork, we see a woman with her hand on a sewing machine, poised in a moment of industrious determination. The title, "Association Day," hints at the power of community and the shared labour that often defines our existence. Through this piece, Morakinyo Femi not only celebrates the strength and resilience of women but also invites us to contemplate the intricate web of relationships and associations that shape our lives. The sewing machine, a symbol of creativity and hard work, serves as a powerful metaphor for how individuals contribute to the fabric of society. Femi's artistry transcends mere visual representation; it weaves stories and emotions into every stroke of the brush. "Association Day" is a testament to his ability to evoke profound contemplation through the seemingly ordinary moments of life, reminding us of the beauty that lies in the details. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Morakinyo Femi is a visual artist born in Akure, Ondo State Nigeria in 1984. At an early age, Femi was intrigued by the stamps collected by his banker father which have now become a significant source of inspiration for his art style. Femi lived briefly with his grandmother, a connoisseur of old textiles...

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...

Francesca Woodman, Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgia...

The Pincers is an original artwork realized by Jim Dine in 1973. Hand-signed in pencil on the lower left margin, dated, numbered edition of 49/75 prints. Good conditions, except for some cuts on the whitish margins of the frame, which do not affect the artwork. Impressive artwork represented through complex simplicity, the well-defined performance of aesthetic visual codes, neat and delicate creation of a hard object "pincers". Jim Dine (Cincinnati, Ohio, 1935) is an American artist who rejected any formal association with Pop Art, but who is still commonly considered an important exponent of this art movement. He became famous for his " happenings ", chaotic art performances originally invented together with other important artists, such as Claes Oldenburg and Allan Kaprow...

M like Miguel is an artwork realized by Miguel Berrocal (1933 – 2006) in 1975. Linocut print. Good condition.

Serigraph in colors on paper. Hand signed, dated and numbered by Peter Max. Published by London Arts Inc., Detroit, MI and printed by Peter Baum, NY. Edition of 300. Frame size ...

Fritz Eichenberg, 'A Visit to the King of the Waters' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Model with Mandolin in Ink and Charcoal on Paper Black and white painting of a woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A woman is sitting in a chair, with a mandolin in her lap. She is shown in profile, looking to the viewer's right. Next to the chair is an end table with a vase of flowers. Unsigned, but was acquired with a collection of the artist's work. Paper size: 22.5"H x 28.38"W Katherine Kallick...

John Plumb 'Colour Step D' 1971 Medium Type: Screen Print Size-Width Size-Height: 22'' x 30'' Signed Edition Size: Signed in pencil, titled and marked 19/75 John Plumb is one o...

Untitled (for the journal, XXe Siécle) Color lithograph on wove paper, 1973 Unsigned (as issued) From: XXe Siecle,, December 1973, No. 41 Published by G. di San Lazzaro for A. Maeght, Paris Printed by Mourlot, Paris Edition 3000 (There was also a signed edition of 75 on larger paper) Catalogue raisonné: Subsequent to Schmücking Condition: Excellent Image/Sheet size: 12 1/4 x 9 1/2 inches "Hans Hartung B. 1904, LEIPZIG, GERMANY; D. 1989, ANTIBES, FRANCE Hans Hartung was born on September 21, 1904, in Leipzig, Germany. He cultivated interests in philosophy, astronomy, music, and religion at a young age before he turned to painting. Early in his career he found inspiration in the works of Rembrandt van Rijn and Francisco de Goya, and later influences included Lovis Corinth, Oskar Kokoschka, Emil Nolde, and Max Slevogt. At just 17, Hartung began to experiment with abstraction, synthesizing the graphic techniques of his artistic models while completely eliminating figurative elements. Hartung entered the Universität Leipzig in 1924 to study philosophy and art history but left to concentrate on painting at the Kunstakademie, Leipzig. While Hartung was advised to pursue further training at the Bauhaus, he opted to study at the Kunstakademie, Dresden. In 1926 Hartung saw an exhibition of international art in Dresden, which exposed him to Cubism and other modern styles that had emerged in France. His encounters with works by Georges Braque, Juan Gris, Henri Matisse, and Pablo Picasso, along with various travels abroad, encouraged him to move to Paris in 1926, where he spent the majority of his time until 1932, although he passed the summer of 1928 in Munich studying under artist and theorist Max Dörner. In 1929 Hartung married the Norwegian painter Anna-Eva Bergman. After several years abroad, they tried to reestablish themselves in Berlin in 1935 but were soon forced into exile by the National Socialist regime. In the years leading up to World War II, Hartung's work reflected his attempts to reconcile chance and control, combining expressive graphic elements with patches of black and color to produce a sense of spontaneity. After the outbreak of the war, Hartung served in the Foreign Legion (1939–40), and later in the Free French (1943–44). He was gravely wounded at the German Front, and one of his legs was amputated. In 1945 he returned to Paris and resumed painting and the following year earned French citizenship. Hartung was a major figure in Art Informel and Tachisme (from the French tache, meaning blot or stain). While Hartung's postwar paintings are generally described as exhibiting a calligraphic quality, his work moved through a series of phases, becoming less spontaneous and more formally aggressive than his work from the late 1930s. In many works of the late 1940s and early 1950s, such as T-50 Painting 8 (T-50 peinture 8, 1950), he applied large areas of color to the canvas on which he painted a combination of bold black brushstrokes and thinner frenetic linear strokes. Hartung received several international awards, including the 1956 award for the Europe-Africa section at the Guggenheim International Award and the International Grand Prize for painting at the 1960 Venice Biennale. His first major group show was organized by curator and critic Christian Zervos at the Jeu de Paume, Paris (1937). After settling permanently in Paris, he exhibited regularly at the Salon des Surindépendants (1935, 1937, 1945). His first solo show took place at Galerie Lydia...

Provence Landscape signed by Josine Vignon (French 1922-2022) ...

Ed. 45/50, signed by Terry O'Neill. Includes black frame. Terry O’Neill CBE is one of the world’s most collected photographers with work hanging in national art galleries and privat...

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

This work is unique. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts. The Andy Warhol Foundation for the Visual Arts...

Limited edition woodblock print in colors seated in a black metal frame behind glass with a front profile of 1/4 inch and a side profile of 1 1/4 inch. Hand signed and numbered out o...

The 1970 exhibition "Le rêve de Diane" by Niki de Saint Phalle at the Galerie Alexandre Iolas in Paris marked a significant moment in her career, showcasing her vibrant, bold approac...

Salvador Dali Fecundity - Bas Relief Silver Sculpture, 1977 Dimensions: 24 x 18 cm Framed: 38 x 33 cm Signed on the bas relief and printed signature on the certificate on the back. ...

Woodland Tapestry, 1970s Vintage Forest Landscape by Mildred Nordman Beautiful vintage forest scene titled "Woodland Tapestry" by Mildred Nordman (Ame...