1960s Abstract Prints

John Hoyland was a British artist and one of the country's leading abstract painters. Hoyland was born in Sheffield, Yorkshire, and educated at Leighton Park School, before going on...

Nedo (1926-2001) Composition 1969. Serigraph on paper, signed, dated 1969 and numbered 12/25 lower left, sheet size 48 x 66 cm. After attending the Commercial and Technical Instit...

Shusaku Arakawa Historic Dwan Gallery Poster: Presence or the Third Person, 1967 Offset lithograph poster 30 x 22 inches Unframed Rarely found, coveted 19...

Lithograph on vélin paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: Published by The Collector's Guild Ltd., New York in association with Th...

Les Mariés is an important colored etching made by the artist Hans Bellmer, after a tempera of 1941. This is an artist proof. The state of preservation is excellent. Signed on the l...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 10.5 x 13.75 inches Inscription: Signed in the plate...

Cover for DLM No. 173 Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), called DLM From: DLM No. 173, published October 1968, whic...

César Baldaccini, CESAR Light spectrum, 1961 Original lithograph (Printed in Pons Workshop) On wove paper 31 x 24 cm (c. 12 x 10 in) Edition San Lazarro, 1961 Excellent condition

Untitled (From the Sotomagie Portfolio), 1967 Denise Rene Editeur, Paris Based on Soto's Work Rotation, 1952, Oil on Plywood Silkscreen 23 7/8 x 23 7/8 in (60.5 x 60.5 cm) Editioned ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 179, 1969. Published by Aim...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Galerie Maeght" Year: 1964 Medium: Original Lithograph, Exhibition Poster on light wove paper Limited edition: Unknown Printer...

John von Wicht, American (1888 - 1970) - Improvisation, Blue-Brown, Year: circa 1965, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 2/15, Image Size: 17 x 8...

This work is hand signed in pencil by the artist "L. Fontana" in the lower right image. It is also hand numbered in pencil from the edition of 170, in the lower left image. There we...

Etching on vélin Johannot d’Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Paroles peintes I, 1962. Published by Éditions O. La...

Hans Bellmer, Les Marionettes II, etching with hand coloring, 1969, edition 150, Flahutez 58-8. Signed and annotated 'HC' in pencil. A fine impression on brown Fabriano hand-made laid paper; the full sheet with margins (3/4 to 3 1/4 inches), in excellent condition. Archivally sleeved, unmatted. Image size 13 7/16 x 11 7/8 inches; sheet size 19 1/8 x 13 1/4 inches. A 'Hors Commerce' impression. From a suite of 11 etchings created by Bellmer to illustrate 'On the Marionette Theatre...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacre aux Pap...

Michael Rothenstein RIP - 1967 Print - woodcut   25'' x 30''inches Edition: signed in pencil and marked sixteen / thirty five Michael Rothenstein (1908-1993) Painter of figurative a...

It depicts a musical score or music notes. Offset Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré a George...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Good condition. Notes: From the volume, XXe Siècle, vol. N° 24, 1964. Published and printed under the direction of Gualtieri di San Lazzaro, éditeur, Pari...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127, 1961. Published by Aimé Mae...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127,...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127,...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127,...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127,...

Lithograph on vélin paper. Paper Size: 15 x 22 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 127,...

Arnaldo Pomodoro (Italian, b. 1926), Graphic Composition, Serigraph on Paper, 1968, embossed mark "CP" and numbered edition "37/80" lower left, signed in pencil and dated lower right...

Max ERNST Surrealist Composition : Après-moi le XX° siècle, 1971 Original lithograph in colours Unsigned On wove paper 31 x 24 cm (c. 12,2 x 9,4 inches) REFERENCES : Catalogue rais...

ZAO WOU-KI 1921- 2013 Beijing 1921 -2013 Switzerland (Chinese) Title: Etching No. 149, 1963 Technique: Original Hand Signed, Numbered and Dated Etching and Aquatint in Colours on W...

Lithograph, 1963 Handsigned by the artist in pencil and annotated EdA Artist proof Edition : /75 + 6 EA Publisher : Galerie im Erker, St. Gallen Printer : Erker-Presse, St. Gallen ...

Jim Dine Gilbert & Sullivan, 1968 Color Silkscreen on wove paper 35 × 25 inches Edition 6/144 Hand-signed by artist, signed, dated and numbered 6/144 lower left New York City Center ...

Concetto Spaziale is a contemporary artwork realized by Lucio Fontana. Aquatint etching on Fabriano paper. Edition of IV/XXV.  The complete edition includes also 75 specimen number...

Hand signed, numbered and dated on verso. Landscape 8, from Ten Landscapes (C. 58). Iridescent silver Mylar collage on opaque black Rowlux and gray moire Rowlux. The full sheet, moun...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Edition of 35 75.6 x 53.7 cms (29.76 x 21.14 ins)

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the volume, XXe siècle, Homage to Marc Chagall, 1969. Published by Tudor Publishing Co., ...

Natvar Bhavsar Untitled mid 1960s abstraction, 1967 Silkscreen Pencil signed, dated and numbered 10/30 by Natvar Bhavsar on the front Frame included: Elegantly framed in a museum qua...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré a George...

Artist: After Joan Miro (1893-1983) Title: Untitled (Guggenheim Museum) Year: 1966 Medium: Offset lithograph exhibition poster on premium paper Size: 33.75 x 24 inches Condition: Exc...

Artist: Marc Chagall (Russian/French) (1887-1985) Title: Lovers with Bouquet, Front Cover of Chagall Lithographe vol 1 Date: 1960 Medium: Color Lithograph Sheet size: 12 7/8 x 10 ¾ i...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré à Jean-P...

Dennis Oppenheim Directed Seeding -Wheat, Historic Yvon Lambert Gallery Poster (Hand Signed and Addressed by Dennis Oppenheim), 1969 Offset lithograph poster. Hand signed, inscribed. Postmarked and addressed to Oppenheim's dealer, John Gibson 23 × 16 inches Hand Signed and inscribed by Dennis Oppenheim lower right in blue marker in 2006, hand addressed by Dennis Oppenheim in 1969 in red marker Unframed This is an extremely uncommon vintage poster/mailer announcing the May 20th, 1969 opening reception (Vernissage) for the exhibition of works by American conceptual art pioneer Dennis Oppenheim at the Yvon Lambert Gallery in Paris. The poster is historic in that it was originally mailed to John Gibson, the East 67th Street dealer, who famously gave Dennis Oppenheim his first New York exhibition in 1968, and it is hand addressed to Gibson, bearing the original Paris, France postmark of 1969. It is, exceptionally, hand signed and dedicated by Dennis Oppenheim to a collector who acquired the poster from John Gibson's collection, and then secured Dennis Oppenheim's autograph in 2006, making this an especially valuable collectors item. More information about the project from the Tate Gallery archives, which acquired the work: This work brings together two interventions Oppenheim created on a field owned by farmer Albert Waalken in Finsterwolde, north-eastern Holland, in 1969. It comprises four distinct elements mounted on board: a colour photograph of a wheatfield being sowed by a tractor in parallel curving lines seen from high up; a negative image in black and white of a map of the area of Finsterwolde onto which two sections of text have been collaged; and two black and white aerial photographs of the same field being traversed by a tractor cutting an X into the wheat. The first two elements relate to the action Directed Seeding. For this the field was seeded according to a line plotted by following the road from the village of Finsterwolde, the location of the field, to Nieuweschans, another village where the farmer’s storage silo for wheat was located. Oppenheim reduced this curved line by a factor of six in order to direct the trajectory of seeding. The tractor then carved a series of curved parallel lines on the surface of the field as it dug up earth and scattered seed. From an aerial perspective the patterning of parallel lines may be viewed as a form of line drawing on the landscape. The precise location of the field and the silo are indicated on the map, showing the trajectory of the road. The two sections of text collaged onto the upper portion of the map briefly describe the two interventions. Explaining the action Cancelled Crop, the artist wrote: In September the field was harvested in the form of an X. The grain was isolated in its raw state, further processing was withheld. This project poses an interaction upon media during the early stages of processing. Planting and cultivating my own material is like mining ones own pigment (for paint) – I can direct the later stages of development at will. In this case the material is planted and cultivated for the sole purpose of withholding it from a product-oriented system. Isolating this grain from further processing (production of food stuffs) becomes like stopping raw pigment from becoming an illusionistic force on canvas. The esthetic is in the raw material prior to refinement, and since no organization is imposed through refinement, the material’s destiny is bred with its origin. (Quoted from artist’s statement in Tate acquisition file.) Directed Seeding and Cancelled Crop are two separate works, brought together in several different versions of which Tate’s is one. The collage presents three ways in which human action may marks the land. For the first two, agricultural machinery is used to create straight lines, in the process of harvesting as in the X of Cancelled Crop, or curved lines, during the process of planting seed in the contours photographed for Directed Seeding. The map shows a third (and more ancient) way of marking the land, through the construction of roads. The use of the landscape – natural, industrial or urban – as a canvas on which to act is typical of Oppenheim’s work in the late 1960s and early 1970s. In a related action, Directed Harvest, 1966 (Tate T07590) and Directed Harvest 1968 (Kröller-Müller Museum, Otterlo, Netherlands), the artist caused a field to be harvested in linear patterns which he then had photographed in its progressive stages. In Reverse Processing: Cement Transplant, East River, NY, 1970, 1978 (Tate T07591) Oppenheim drew large crosses on the roofs of barges transporting raw cement that he found moored on the New York East River banks. All these works centre on process as an agent of change and utilise materials, elements and locations on which the artist can have no permanent claim, making them deliberately ephemeral. Such actions as seeding a crop and harvesting it several months later operate within time parameters dependent on the cycles of the seasons rather than the will of man, mixing human processes with those of nature. Oppenheim’s analogy between the prevention of a crop from entering the food chain and the halting of the expressive, ‘illusionistic’ force of paint deconstructs the sophisticated processes of art-making and the food industry to the elemental notion of making simple marks on the environment. In this way, the artist highlights contemporary man’s dependency on complex chains...

Etching, 1967 Handsigned by the artist in pencil and numbered 56/100 Publisher : Galerie Im Erker St. Gallen 22.50 cm. x 17.50 cm. 8.86 in. x 6.89 in. (paper) 22.50 cm. x 17.50 cm...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 10.25 x 13.75 inches Inscription: Signed in the plat...

Lithograph, 1968 Edition : 30/125 Publisher : Éditions Paris Book Center (New York) Printer : Mourlot (Paris) Catalog : [Sorlier 128, p. 106] 65.00 cm. x 50.00 cm. 25.59 in. x 19.69...

Artist: K.R.H. Sonderborg, Danish (1923-2008) Title: Untitled 3 Year: 1969 Medium: Lithograph, signed and numbered in pencil Edition: 32/100 Size: 39.5 in. x 24.5 in. (100.33 cm x 62...

Hans Bellmer, Les Marionettes I, etching with hand coloring, 1969, edition 150. Signed and annotated 'HC' in pencil. A fine impression on brown Roma hand-made laid paper; the full sheet with margins (1 to 2 5/8 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 13/16 x 11 1/8 inches; sheet size 15 5/8 x 13 1/4 inches. A 'Hors Commerce' impression. From a suite of 11 etchings created by Bellmer to illustrate 'On the Marionette Theatre...

Karel Appel "Paysage Humain", 1961 Color lithograph Hand signed by the artist and numbered 17/115 20 x 19.75 inches *unframed*

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 118, 1960. Published by Aimé Maeght, Éditeur, Paris; pr...

Bright and colorful abstract lithograph by French artist Chevolleau, 1965. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a st...