1960s Abstract Prints

Printed by Pierre Chave, Vence, published by Bianchi Frères in Nice, France ink on watermarked chiffon de Mandeure paper, hand signed in pencil lower right, "PH Dureux," numbered 4/5...

’Les Oiseaux De Feu’ By Lars Bo Medium - Etching on BFK Rives paper Signed - Yes Edition - 61/120 Date - 1964 Size - 650mm x 500mm Condition - 9 Colour of print may not be ac...

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...

Barbara Welk - Sixes and Sevens, Year: circa 1969, Medium: Embossed Etching and Aquatint on Arches, signed, titled and numbered in pencil, Edition: AP, Image Size: 24.5 x 17 inch...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (201...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (201...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 13 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (2018)...

School of Paris Artist, Andre Minaux (Paris 1923-86) Limited Edition 20/20, printed in 7 colours on Japon paper. Sheet size 57" x 38", image size 49" x 32" Signed Bottom right in pencil, editioned in pencil bottom left With a full sheet authenticity certificate, dated 1964 This is a fabulous original Limited Edition Lithograph, completely of its time when artists in Paris were pushing boundaries and trying to bring about new styles. The influence of artists like Matisse can be seen and Minaux was working alongside artists such as Picasso and with Bernard Buffet to reject ideas of Abstract painting. The text that accompanies the lithograph can be seen in the image of the certificate and is in French. The translation that follows on the certificate of Provenance gives an in depth description of this compelling still life: 'It is a singularly balanced art that that of André MINAUX, a typically French painting, made of power of clarity and nobility, in the tradition of our great modern masters as well as those of past centuries. And yet this painting under the hieratic appearance of the attitudes is not a wise painting, but on the contrary terribly dynamic, in which the passion and the virulence of the feelings are contained only by the simplicity and the purity of the forms. Each work of André Minaux is a miracle of balance between bubbling joy; joy of painting, joy of living; which animates the artist, and the voluntary serenity of the colors and volumes by which he translates his vision of beauty and grandeur. André Minaux's painting, full of a life in perpetual becoming, is the great and worthy expression of an art continually in evolution which moves without aggressiveness, but not without struggles, towards its final ends. And this painting, painting of an artist in full possession of all his means, of an extremely solid technique, and of a perfect trade is however that of a young person. Forty-one years is youth for a painter and at this age André Minaux, already recognized as one of the masters of the young French figurative school, has a future as brilliant and promising as behind him a long history of hard work and success. André Minaux is Parisian, born September 5, 1923. Very young he feels attracted to the graphic arts, he prepares and enters the School of Decorative Arts, but pure painting attracts him irresistibly and it is to her that he soon devotes himself exclusively. His young and great talent makes him quickly noticed. He first exhibited at the Salon des Sous de Trente Ans and later at other salons: des Indépendants, d'Automne, then at the Salon de Mai and at the Tuileries. In 1948 first private exhibition in Paris, others will follow in 1951, 1956 and 1957. In the meantime two exhibitions equal ment were devoted to him in London in 1953 and 1957. His last was a very important exhibition in 1963 at the David and Garnier Gallery in Paris. In 1949 at the 'Ecole de Paris', Galerie Charpentier, he had already won the Critics' Prize. Its reputation extends abroad thanks to numerous demonstrations of groups in England, Germany, Australia, Canada, Japon, U.S. A., etc... The Museum of Modern Art in Paris, several museums in the provinces, the Tate Gallery in London, have works by André Minaux, and his paintings can be found in major collections in Paris, London, New York, Tokyo, Stockholm, etc. ... Member of the French engraver painters, André Minaux is a remarkable lithographer, his lithographed work is already very important, he is also a member of the "Comité National du Livre Illustré Français and he has illustrated a certain number of luxury books...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 13 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (2018)...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 6.5 x 8.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (2018...

Artist: (after) Lee Krasner (American, 1908-1984) Title: "City Art Gallery (Bird Talk)" *Signed and dated by Krasner in the plate (printed signature) lower left Year: 1966 Medium: Or...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with bifold, as issued. Notes: From the volume, Derrière le miroir, N° 164-165, 1967. Publ...

Artist: Robert Indiana Title: Sex Anyone Portfolio: 1¢ Life Medium: Lithograph Year: 1964 Edition: 2000 Frame Size: 21 1/4" x 17 1/4" Sheet Size: 16 1/8" x 11 3/8" Signature: Unsigne...

Hand signed. Artist's Proof. “Le Belle di sera” is the title that Massimo Campigli gave to this intense lithograph (1967). The protagonists of this composition are four women that ar...

Myril Adler "Reconstruction" c.1960s Collagraph ink on paper 2.25"x2.25" ash wood gallery frame 9.5"x9.5" Titled in pencil, estate stamp Myril Adler, was born on September 22, 1920 ...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Prints from the Mourlot Press, 1964. Published by Fernand Mourlot, Par...

Savo Radulović, Serbian American (1911 - 1991) - The Lock, Medium: Screenprint, signed, titled and numbered in pencil, Edition: 15, Image Size: 16.25 x 11.75 inches, Size: 20 x ...

Jasper Johns Target with Four Faces (Hand signed by Jasper Johns), 1968 Offset lithograph poster (hand signed and dated by Jasper Johns) Hand signed and dated April 8, 1985 by Jasper...

Love Apple (Brown background). 1967. Linoleum cut printed in black, red, orange, brown and tan. 16 1/2 x 12 1/2 (sheet 21 3/4 x 15). Edition 18. A vivid impression printed on wove pa...

"The Plain" Figurative Aquatint and Etching on Archival Paper Bold aquatint by Jack Zajac (American, b. 1929). Seen from above, a figure stands outside at night, with arms outstretc...

Composition in Purple, Red and Yellow Paul Jenkins, American (1923–2012) Portfolio: Lithographies de l'Atelier Mourlot Date: 1966 Lithograph on Arches (unsigned) Edition of 1000 Size...

19 x 15.5 with backing 12 x 12 image Ushio Shinohara (born 1932, Tokyo), nicknamed “Gyu-chan”, is a Japanese Neo-Dadaist artist. His bright, large work has been exhibited internationally at institutions including the Hara Museum of Contemporary Art, Centre Georges Pompidou, the Guggenheim Museum SoHo, National Museum of Modern Art, Tokyo, Leo Castelli Gallery, New York, Museum of Contemporary Art, Los Angeles and The Metropolitan Museum of Art, Seoul and others. Shinohara and his wife, Noriko, are the subjects of a documentary film by Zachary Heinzerling called Cutie and the Boxer (2013). Shinohara's parents instilled in him a love for painters such as Paul Cézanne, Vincent Van Gogh and Paul Gauguin. His father was a tanka poet who was taught by Wakayama Bokusui. Shinohara’s mother was a painter who went to the Woman’s Art University (Joshibijutsu Daigaku) in Tokyo. In 1952 Shinohara entered the Tokyo Art University (later renamed to Tokyo University of the Arts), majoring in oil painting, however he left before graduation in 1957. In 1960 Shinohara participated in a group called "Neo-Dada Organizers". (Masunobu Yoshimura, Genpei Akasegawa, Shusaku Arakawa, Ushio Shinohara, Sho Kazakura, Tomio Miki, Tetsumi Kudo...

Untitled is an original contemporary artwork realized by Lucio Fontana in 1963. Mixed colored photolithograph. Hand signed in pencil by the artist on the lower right margin. Numbe...

Lithograph, 1969 After a drawing by Robert Delaunay reprinted in 1969, numbered, titled, annotated ‘pour Robert Delaunay 1926-1969’ and signed by Sonia Delaunay Edition : 60/75 Publ...

Medium: original serigraph / silkscreen. In 1964 Samuel Wagstaff, Jr. (at that time Curator of Paintings at the Wadsworth Atheneum in Hartfordford, Connecticut) selected ten importan...

Original Air France Grece vintage travel poster. Linen-backed original travel poster by Air France to Greece. Stylized Greek columns and the Parthenon in Athens, Greece sit on a mediterranean blue background. Very good condition, A- Ready to frame. Edges were trimmed at the time of linen backing. The creation of this poster was part of a larger series initiated by Pierre Sautet, the Deputy Commercial Director of Air France. Mathieu began working on these posters a year earlier and completed the series in 1967. Air France is France's flag carrier airline, one of the world's largest and most well-known airlines. Established in 1933, the airline has a rich history and has played a significant role in the development of international air travel. Air France often featured a distinctive style that reflected the cultural and artistic trends of the time. From the Art Deco elegance of the 1930s to the vibrant colors and bold designs of the 1960s, these posters represent the changing aesthetics over the decades. Due to their artistic quality and historical significance, Air France vintage posters...

Calligraphy Lithograph, 1969 Edition: 260 Signed in script by the artist (see photo) Signed with initials and dated by the artist (see photo) Publication for the Print Club of Cleveland, No. 47 for 1969 Printer: Hollander Workshop, New York, with their chopstamp (see photo) Ulfert Wilke (1907–1987) was an internationally recognized painter, calligrapher and art collector connected to the abstract expressionism movement. He was born in Bavaria, Germany, and immigrated to the United States in 1938. He is best known for his large canvas paintings and highly detailed lithographs that were inspired by calligraphic writing. Wilke was deeply intrigued by the written language, and much of his work was derived from his abstract interpretation of the shapes, colors and meanings of writing that he found in all languages and forms, including the poetry and ancient engravings...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Miró: Cartones, 1959-1965, October - November 1965, 196...

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

Maurice Élie Sarthou (French, 1911-1999) "Composition" Edition 209/220, Abstract Lithograph signed and numbered in Pencil, 18.50 x 24.63, Late 20th Century, ca. 1960s Colors: Green, Black, Yellow, Purple, Orange Sarthou was born in Bayonne on January 15, 1911; an orphan following the death of his father during the First World War, he was raised by his mother and grandfather in Montpellier. After high school, in 1927, he obtained the authorization to enter the Beaux-Arts of the city provided he prepared architecture. After a year, he persuades his family to let him study at the painting studio. He first attended a training at the School of Fine Arts in Montpellier; Then in 1930, a fellow of the city of Montpellier as the ward of the nation, he entered the Beaux-Arts in Paris. In 1934, birth of Francine, his daughter. To make a living, he introduces himself to the drawing faculty. He was appointed to Bastia, then in 1937 to Bordeaux. In 1939, 1940 and 1941, he made war in the transmissions. In 1943, he became a member of the Société des Artistes Indépendants Bordelais, which regularly organizes exhibitions of Parisian artists (Bissière, Lhote, Walch, etc.); this has a positive influence on him; Artistic emulation allows him to assert his style even more intensely. In 1948 he met the writer Raymond Guérin who introduced him to Maurice Toesca, Marcel Arland and, later, Jean Paulhan. In 1950, he illustrated Raymond Guérin's book "Testamentary fragment". In 1949 he was chosen by Jacques Lassaigne, who came to Bordeaux to preside over the regional selection of the Prix de la Jeune Peinture. He won the price Drouant, the first mention of the price (fourth prize on more than 90 competitors, including Lagrange, Lapoujade, Rebeyrolle, also mentioned). In the jury, Gaston Diehl noticed him and invited him to the Salon de Mai of which he is the founder. It is the first manifestation of Sarthou with the Parisian public with two paintings: "Still life" and "Open window". He will participate in this show until 1963. He moved to Paris in 1950, where he was appointed professor of drawing at Lycée Henri IV, which allowed him to exhibit in the salons of the capital and to be more recognized. From 1950, around Jean Paulhan, meet at the arena of Lutetia, on Sunday morning, to play bowls: Maurice Toesca, Jerome Lindon, Yves Berger...

Untitled (Plate 2) DLM Color lithograph, 1963 Unsigned and unnumbered (as issued) From: Derriere le Miroir, No. 141 Published by A. Maeght, Paris Printer: Mourlot Freres, Paris Note...

Engraving on vélin papier à la cuve du Moulin Richard de Bas paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, L'amour du plus lointain, neuf gravures...

This colorful abstract lithographic poster was printed at the Atelier Mourlot on Bank Street in New York City in 1967. Calder is one of the most acclaimed and influential sculptors...

Joe Goode Floating Cards, 1969 Lithograph on Arches paper with two deckled edges. Hand Signed. Dated. Annotated Hand signed, dated and annotated Artists Proof on the lower front 22 1/4 × 29 4/5 inches Published by Mourlot, Paris Provenance: Reese-Palley Gallery, Atlantic City, New Jersey Unframed Part of Joe Goode's five part 1960s series "Floating Cards". Rarely to market. The provenance of this print is from the Reese-Palley Gallery. The famous dealer and adventurer Reese Palley of Atlantic City New Jersey - was the second gallerist in the 1960s - after Paula Cooper - to set up shop in SOHO. Hand signed, dated, and annotated Artist's Proof aside from the regular edition. Pop art pioneer Joe Goode (born 1937) was born in Oklahoma City, Oklahoma, in 1937. In 1959 he moved to Los Angeles, California, where he attended the Chouinard Art Institute until 1961. First recognized for his Pop Art milk bottle paintings and cloud imagery, Goode's work was included along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Robert Dowd, Edward Ruscha, and Wayne Thiebaud, in the 1962 ground-breaking exhibit New Painting of Common Objects, curated by Walter Hopps...

Aquatint on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis ...

Alexander Calder (1898-1976, American ) The Black Line 1967 Lithograph 22 1/2 x 30 1/8 in. Edition of 60 Pencil signed and numbered Alexander Calder (July 22, 1898 – November 11, 19...

Lithograph, 1960 Handsigned by the artist in pencil and numbered 6/30 Publisher : Maeght (Paris) Printer : Maeght (Paris) Catalog : [Vallier n°145] 28.00 cm. x 38.00 cm. 11.02 in. x...

Boris Margo is one of the artists whose work is instantly identified with 'Mid-century American Modernism.' Usually abstract with a spiky surrealist edge, it speaks to extensive inno...

Myril Adler "Moonscape" c.1960s Intaglio etching collage, ink on paper 3"x6" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (n...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°15, 1960. Published and printed under the direction of Gualt...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...

Stanley Lewis was a Jewish Canadian sculptor, photographer and an internationally renowned art teacher born on March 28, 1930 in Montreal. His works are held in many public collectio...

’Saccades’ By Joan Miró Medium - Aquatint and etching Signed - In plate Edition - Size - 550mm x 375mm Date - 1962 Condition - 10 Colour of print may not be accurate when vi...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°21, 1963. Published and printed under the direction of Gualt...

Harry Bertoia, Untitled (Abstraction), monotype, c. 1960, a unique impression. Signed 'HB' in pencil, lower right sheet corner, verso. Inscribed '1852' (the artist’s inventory number) in pencil, lower right sheet corner, recto. A superb, painterly impression, on cream wove Japan paper, the full sheet, in excellent condition. Unmatted, unframed. Sheet size 12 x 39 inches (30 x 99 cm). Provenance: Val Bertoia; Private Collection; Rago Auctions, Lambertville, NJ. Literature: 'Harry Bertoia: Monoprints,' Nancy N. Schiffer, Schiffer Publishing LTD, 2011; pg. 253. This work is included in the Harry Bertoia Foundation digital resource, Harry Bertoia Catalogue Raisonné, number TD.MO.1584. ABOUT THE ARTIST Harry Bertoia (1915-1978) was a visionary Italian-American artist, sculptor, and designer. Born in San Lorenzo, Italy, Bertoia immigrated to the United States with his family at age fifteen, settling in Detroit, Michigan. From an early age, Bertoia demonstrated a keen interest in art and design, studying painting and drawing at the Cass Technical High School in Detroit. Later, he attended the Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he studied under renowned designers Eliel Saarinen and Charles Eames. At Cranbrook, Bertoia first began to explore the possibilities of working with metal, a medium that would come to define his artistic career. In the 1940s, Bertoia moved to California to work for Charles and Ray Eames, contributing to the development of innovative molded plywood furniture. However, his experimentation with metal wire sculpture would ultimately catapult him to international acclaim. Bertoia's iconic "Sonambient" sculptures, consisting of delicate metal rods arranged in various configurations, created ethereal sounds when touched or moved, transforming the act of sculpture into a multisensory experience. Bertoia's talent and innovation caught the attention of Florence Knoll, the founder of Knoll Associates, a leading furniture design company. In 1950, Bertoia began collaborating with Knoll, producing a series of iconic wire chairs that became emblematic of mid-century modern design. His "Diamond Chair," with its geometric form and airy construction, remains a classic of modern furniture design. Bertoia continued to explore sculpture as a means of artistic expression, experimenting with new forms and materials. His work was characterized by organicism and fluidity, with forms that evoked natural phenomena such as waves, leaves, and clouds. A decade before Harry Bertoia began creating three-dimensional sculpture, he dedicated his creative efforts to producing experimental prints at the Cranbrook Academy in Bloomfield Hills, Michigan, pursuing a passion that would continue for the rest of his life. With these spontaneous works, he worked intuitively, testing different tools and techniques to achieve his desired effects. Rather than using a traditional mechanical pressing process, he would apply ink to a glass or smooth Masonite plate with a sheet of paper laid directly on top. Then, tools such as brayers, dog hair brushes, styluses, and different parts of his hands were employed to draw or “press” the images on the back of the sheet. Rice paper was typically used due to its semi-translucent nature, offering Bertoia limited visibility of the effects of his experimentation, but ultimately, the unpredictable nature of the process was an integral aspect of the results, which never ceased to delight him. Each work was a singular composition with abstract imagery ranging from linear, structural compositions to fantastic surrealistic forms to poetic tonal landscapes. He received little input from other artists, developing his unique vision with rare purity and a deep personal resonance. From his first year of printmaking in 1940, Bertoia quickly amassed an extensive collection of unique works. The compositions were strongly tied to the non-objective movement, which, while popular in Europe, was still in its nascent stages in the US. There were few proponents of this new art form to be found in the 1940s, and it was Hilla Rebay, then Director of the Guggenheim Museum of Non-Objective Art, who gave Bertoia the encouragement and promotion he needed. In 1943, Bertoia sent approximately 100 monotypes to Rebay for review. After receiving the prints, she responded with a surprising offer to buy them all. Rebay then began including them in the museum’s exhibitions. The Guggenheim shows succeeded in putting Bertoia’s name out into the world. He began exhibiting his works regularly at the Neierndorf Gallery in New York and was provided a stipend to ensure a steady supply of prints until Karl Neierndorf died in 1947. By the 1950s...

Artist: Allan D'Arcangelo (American, 1930-1998) Title: Landscape Year: 1968 Medium: Screenprint, signed and numbered in pencil Edition: 75 Size: 28 in. x 22 in. (71.12 cm x 55.88 cm)

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°20, 1962. Published and printed under the direction ...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, XXe Siècle, vol. n°33, 1969. Published and printed u...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...

Artist: Marc Chagall (after) Title: Couple and Fish Portfolio: Nice and the Cote d'Azur Medium: Lithograph Date: 1967 Edition: Unsigned and unnumbered proof (aside from the edition o...

Silksreen, 1966 Handsigned by the artist in pencil and numbered 123/150 Publisher : Denise René, Paris Printer : Ateliers Arcay Catalog : [Benavides 60] 83.00 cm. x 75.00 cm. 32.68 ...

Bianchi e Neri II (Acetates) - Plate B is a print realized using different techniques, and hand-signed in pencil on the lower right margin by Alberto Burri . Hand-numbered in pencil on the lower left. Edition 17/90. The whole edition includes 90 prints plus 15 out of commerce Artist's Proofs in Roman Numerals. Very good condition. The work is part of the "Black and white" folder that Alberto Burri realised in 1969, using an elaborate mix of techniques, such as lithography, chalcography and acetate collage. This six etching portfolio...

Victor Vasarely Rare 1960s Victor Vasarely poster, 1967 Offset lithograph 35 × 19 1/4 inches Unframed, unsigned Published by London Arts Group Rare 1967 offset lithograph The work...