1970s Art

"Trovatore tra le nubi" is a hand-signed lithograph realized by Giorgio de Chirico in 1973. Numbered, edition of 110. Good conditions with slight folding on the lower and very sma...

Jean Cocteau and Raymond Moretti Portrait Original lithograph Printed signature in the plate, handsigned by Raymond Moretti Numbered 1/79 - Very look for artist proof bearing n°1 On...

Signed, titled and numbered etching from the edition of 100. In individual prints, and his illustrated books, Washburn cleverly skewers human frailties with Renaissance-style engravi...

This is an artwork created by the well known Italian artist Carmelo Cappello. It is a multiple, an Abstract Sculpture one of the identical 99 specimen edited in 1978. This piece is ...

David Hamilton, American (1933 - 2016) - Souvenirs de Vacances Par David Hamilton, Year: 1974, Medium: Incomplete Portfolio of 61 unbound reproduction prints with cloth bound cov...

André Masson, French (1896 -1987) - Orphée (Signed), Year: 1972, Medium: Etching, signed and numbered in pencil, Edition: 1/50, Image Size: 11.75 x 9.25 inches, Size: 16.5 x 12....

Untitled - Tiles by Menashe Kadishman, Israeli (1932–2015) Date: circa 1979 Screenprint, signed in pencil Image Size: 21.5 x 20 inches Size: 41 x 29 in. (104.14 x 73.66 cm)

Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014). Animal Capers, ca. 1970 . Ink on illustration board, image measures 20 inches. inches; illustration panel measures 21.5 inches. Unsigned. Minor staining evident in detail photos Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Bermuda Idyll 1977 by Slim Aarons Slim Aarons Limited Estate Edition Mrs Frank McMahon and guests around the pool at her seaside home in Bermuda, 1977. unframed c type print prin...

Signed on palette, lower right, 'John Diallo Jones' (American, 20th century) and dated 1992. A dramatic figural oil showing the artist flanked by two whispering skeletons, one of wh...

Large, scarce limited edition color aquatint by Alexander Calder, from a limited edition of 90. Signed by Calder and numbered in pencil. Printed and published by 2RC Edizioni d'Art...

Vincent HADDELSEY (1934-2010) Horse : Polo Game, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Signed on the lower right side. It has the original strip frame from the Museum exhibition at the Portland Museum of Art 1983. Illustrated in the catalog, page 35 illustration #40 ...

NIGHT ANIMAL is an original limited edition lithograph by the Dutch artist Karel Appel on printed using traditional hand lithography techniques on archival printmaking paper, 100% ac...

Lithograph, 1970 Handsigned by the artist in pencil and annotated EA - Artist Proof Edition : 300 Printer : Clot, Bramsen et Georges (Paris) Catalog : [Mason Putman 58] 65.50 cm. x 4...

Here for your consideration is an original beautifully patinated solid bronze standing female nude by the Bulgarian/American artist, Ana Ranguel Daltchev. Incised artist signature o...

Joan Miró "Le Permissionnaire", 1974 Original etching and aquatint From the edition of 50 on arches paper, hand signed and numbered 3/50. Image measures: 45 x 29 inches Sheet measure...

Watercolor on paper sold with frame (wooden frame with glass) Total size with frame 33x43 cm

Red Six is a lithograph realized by the Italian painter  Lorenzo Indrimi in the 1970s. The artist found inspiration in the most primitive human experiences. This print is a hand-si...

Abstract composition is a beautiful original colored lithograph on cream-colored paper realized by the Italian artist Primo Conti (1900-1988). This origi...

Oil on linen. Estate stamp verso. Unsigned. 71.25 x 40.5 in. 72.75 x 42 in. (framed) Custom framed in a solid maple floater with a polyurethane clear coat finish. Provenance Estat...

Salvador Dalí­ The Emerald Table from Alchimie des Philosophes, 1976 Lithograph and drypoint on parchment Hand signed and Edition 179 / 225 Sheet size 77 x 56 cm Printer: Art Lithog...

Island is an original screen print artwork, realized by Maurilio Catalano. Hand-signed, numbered edition of 2/60 prints. The state of preservation is very good. The artwork repres...

The Black Panther Trials - In this historically significant work, African American Artist Vicent D. Smith functions as an Art Journalist/ Court Reporter as much as a Artist. Here, he depicts, in complete unity, 21 Black Panther Protestors raising their fist of defiance at the White Judge. Smith's composition is about utter simplicity, where the Black Panther Protestors are symmetrically lined up in a confrontation with a Judge whose size is exaggerated in scale. Set against a stylized American Flag, the supercilious Judge gazes down as the protesters as their fists thrust up. Signed Vincent lower right. Titled Panter 21. Original metal frame. Tape on upper left edge of frame. 255 . Panther 21. Framed under plexi. _____________________________ From Wikipedia In 1969-1971 there was a series of criminal prosecutions in New Haven, Connecticut, against various members and associates of the Black Panther Party.[1] The charges ranged from criminal conspiracy to first-degree murder. All charges stemmed from the murder of 19-year-old Alex Rackley in the early hours of May 21, 1969. The trials became a rallying-point for the American Left, and marked a decline in public support, even among the black community, for the Black Panther Party On May 17, 1969, members of the Black Panther Party kidnapped fellow Panther Alex Rackley, who had fallen under suspicion of informing for the FBI. He was held captive at the New Haven Panther headquarters on Orchard Street, where he was tortured and interrogated until he confessed. His interrogation was tape recorded by the Panthers.[2] During that time, national party chairman Bobby Seale visited New Haven and spoke on the campus of Yale University for the Yale Black Ensemble Theater Company.[3] The prosecution alleged, but Seale denied, that after his speech, Seale briefly stopped by the headquarters where Rackley was being held captive and ordered that Rackley be executed. Early in the morning of May 21, three Panthers – Warren Kimbro, Lonnie McLucas, and George Sams, one of the Panthers who had come East from California to investigate the police infiltration of the New York Panther chapter, drove Rackley to the nearby town of Middlefield, Connecticut. Kimbro shot Rackley once in the head and McLucas shot him once in the chest. They dumped his corpse in a swamp, where it was discovered the next day. New Haven police immediately arrested eight New Haven area Black Panthers. Sams and two other Panthers from California were captured later. Sams and Kimbro confessed to the murder, and agreed to testify against McLucas in exchange for a reduction in sentence. Sams also implicated Seale in the killing, telling his interrogators that while visiting the Panther headquarters on the night of his speech, Seale had directly ordered him to murder Rackley. In all, nine defendants were indicted on charges related to the case. In the heated political rhetoric of the day, these defendants were referred to as the "New Haven Nine", a deliberate allusion to other cause-celebre defendants like the "Chicago Seven". The first trial was that of Lonnie McLucas, the only person who physically took part in the killing who refused to plead guilty. In fact, McLucas had confessed to shooting Rackley, but nonetheless chose to go to trial. Jury selection began in May 1970. The case and trial were already a national cause célèbre among critics of the Nixon administration, and especially among those hostile to the actions of the FBI. Under the Bureau's then-secret "Counter-Intelligence Program" (COINTELPRO), FBI director J. Edgar Hoover had ordered his agents to disrupt, discredit, or otherwise neutralize radical groups like the Panthers. Hostility between groups organizing political dissent and the Bureau was, by the time of the trials, at a fever pitch. Hostility from the left was also directed at the two Panthers cooperating with the prosecutors. Sams in particular was accused of being an informant, and lying to implicate Seale for personal benefit. In the days leading up to a rally on May Day 1970, thousands of supporters of the Panthers arrived in New Haven individually and in organized groups. They were housed and fed by community organizations and by sympathetic Yale students in their dormitory rooms. The Yale college dining halls provided basic meals for everyone. Protesters met daily en masse on the New Haven Green across the street from the Courthouse (and one hundred yards from Yale's main gate). On May Day there was a rally on the Green, featuring speakers including Jean Genet, Abbie Hoffman, Jerry Rubin, and John Froines (an assistant professor of chemistry at the University of Oregon). Teach-ins and other events were also held in the colleges themselves. Towards midnight on May 1, two bombs exploded in Yale's Ingalls Rink, where a concert was being held in conjunction with the protests.[4] Although the rink was damaged, no one was injured, and no culprit was identified.[4] Yale chaplain William Sloane Coffin stated, "All of us conspired to bring on this tragedy by law enforcement agencies by their illegal acts against the Panthers, and the rest of us by our immoral silence in front of these acts," while Yale President Kingman Brewster Jr. issued the statement, "I personally want to say that I'm appalled and ashamed that things should have come to such a pass that I am skeptical of the ability of a Black revolutionary to receive a fair trial anywhere in the U.S." Brewster's generally sympathetic tone enraged many of the university's older, more conservative alumni, heightening tensions within the school community. As tensions mounted, Yale officials sought to avoid deeper unrest and to deflect the real possibility of riots or violent student demonstrations. Sam Chauncey has been credited with winning tactical management on behalf of the administration to quell anxiety among law enforcement and New Haven's citizens, while Kurt Schmoke, a future Rhodes Scholar, mayor of Baltimore, MD and Dean of Howard University School of Law, has received kudos as undergraduate spokesman to the faculty during some of the protest's tensest moments. Ralph Dawson, a classmate of Schmoke's, figured prominently as moderator of the Black Student Alliance at Yale (BSAY). In the end, compromises between the administration and the students - and, primarily, urgent calls for nonviolence from Bobby Seale and the Black Panthers themselves - quashed the possibility of violence. While Yale (and many other colleges) went "on strike" from May Day until the end of the term, like most schools it was not actually "shut down". Classes were made "voluntarily optional" for the time and students were graded "Pass/Fail" for the work done up to then. Trial of McLucas Black Panther trial sketch...

Mirò Lithographe II, no. IV is a beautiful color lithograph on paper, realized in 1974 by Joan Miró for the second volume of his "Mirò Lithographe II", composed by an original lithog...

Slim Aarons Limited Estate Edition Countess on Deck Countess Gioia Gaetani-Lovatelli relaxes on deck during a yachting holiday in Porto Rotondo, 1982. Paper Size 24x20 inches / 6...

Woman In Red is a beautiful colored lithograph realized by the Italian artist Pompeo Borra (Milan, 1898-1973). Edited by La Nuova Foglio, Macerata. Hand-signed in pencil "P. Borra"...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Féerie et Le Royaume, Lithographies Originales de Marc Chagall, 1972...

Salvador Dali - Serenade - Original Handsigned Lithograph Dimensions: 51 x 71 cm 1970 Signed in pencil and numbered Edition : /CXX References : Field 70-8

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

This artwork titled "Innocence" from the suite, Pleni Luna, 1974, is an original color lithograph on watermarked Arches paper by Cuban artist Wilfredo Lam, 1902-1982. It is hand sig...

Antonio Sala Herrero (1927-2012) - Sant Feliu de Guixols - Oil on canvas Oil measures 50x61 cm. Frame measures 61x72 cm. Sala Herrero, Antoni, Barcelona-...

Vintage Oil Painting of the Cullin Hills - the iconic Mountain Range on Isle of Skye in the Scottish Highlands, by 20th Century Artist, Roger Gallaher Art measures 20 x 16 inches ...

'Café de la Place', gouache on paper, by Raymond Debiève (circa 1970s). A solitary stroller in a small French town crosses the street in front of a café al...

Capricho de Goya n°7 is an héliogravure and stencil, realized in 1977, hand-signed and numbered n°125/200. Published by Berggruen Paris in 1977. Image dimensions: 21x15 cm. Incl...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

First edition published in 1972 by Harry N. Abrams, New York, authored by John Barnicoat. This hardcover edition, part of The World of Art Library, is bound in cloth with a dust jack...

Artist: Victor Vasarely Title: Profound Works VII Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré à Valerio Adami, Derrière le miroir,...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Souvenirs et portraits d'artistes, 1972. Published by Fernand Mourlot, ...

- Plate 118 from the Suite 156 - edition 48/50 - stamp signature - dated in the plate 17.5.71 - cat. raisonné Bloch 1973; cat. raisonné Baer 1982

Artist: Bernard Buffet Medium: Original Lithographic Poster, 1979 (before lettering) Dimensions: 26 x 20.5 in, 66 x 52.1 cm Classic Poster Paper - Perfect Condition A+ This color...

Reading a Letter by the Dinner Table - Figurative in Oil on Canvas Soft and detailed scene of a child by the table by Edo Pratini (American, 20th Century). The child is standing by ...

Medium: Etching Edition of 90 Year: 1974 ImageSize: 16 x 12.5 inches Signed, titled and numbered etching from the edition of 90. An humorous look at Adam surrounded by the animals h...

Mark Tobey, American (1890 - 1976) - Sonata, Year: 1975, Medium: Screenprint on Richard Des Bas, signed and numbered in pencil, Edition: 100, Image Size: 16 x 19.5 inches, Size: 21...

Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...

Beautiful, original oil on canvas landscape painting by the well known British artist, John Clymer. Signed lower right. Circa 1975. Condition is excellent. Post Impressionist sty...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a se...

Joan Palet (1911 - 1996) - Female figure - Oil on canvas Oil measures 81x65 cm. Frameless. Joan Palet was born in Barcelona on March 28, 1911 in a family of sculptors and wood carve...

Peter Stroud, British (1921 - 2012) - The Clifford Suite, Year: 1973, Medium: Screenprint, signed, dated and numbered in pencil, Edition: 44/45, Image Size: 27 x 36.25 inches, Size: ...

Medium: Lithograph on vélin d'Arches paper Year: 1972 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Fauves, VII, Collec...

Letter C, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Untitled is an original Contemporary Artwork realized by Hans Richter (Berlin, 1888 - Minusio, 1976) in 1971. Hand-signed and dated in pencil on the lower right corner: Richter 71....

Mixed media on paper realized by an unknown italian artist, most probably in 1970s. Pastels and watercolor. Includes a wooden frame.

Salvador Dali - The Sacred Love of Gala - Original Signed Engraving Handsigned in pencil and Numbered Edition: F195/195 - Printer: Atelier Riga...

Paul Wunderlich From Portfolio "Twilight" with Karin Szekessy Year: 1971 Medium: Phototype (Lichtdruck) Edition: 125 Size: 33 x 25 in. Publisher: A.A.A....

Urbain HUCHET Montmartre : Cabaret du Moulin Rouge, 1970 Original lithograph Handsigned in pencil Numbered / 295 copies Size 19 x 27 cm (c. 7,4 x 10,6 in) Excellent condition

Portrait of Woman is a Lithograph realized by Franco Gentilini (Italian Painter, 1909-1981) in the 1970s. The state of preservation of the artwork is excellent. Hand-signed. Artis...

Vintage Poster is an original manifesto realized by Leo Guida in 1975. Screen print. Good condition for the 8 copies of the artwork. Edition 42/150. Dated and signed. Leo Guida ...

Tristan Fabris 1970's, French Surrealist artist Abstract Surrealist Figurative study oil on canvas, unframed signed and dated 75' inscribed verso canvas: 32 x 34 inches private colle...