1960s Abstract Prints

Silkscreen edition of 75

Engraving, 1966 Handsigned by the artist in pencil and numbered 69/75 Publisher : XXe siècle, Paris Printer : S. Esmeraldo, Paris Catalog : Schneider XXIX 56.50 cm. x 76.00 cm. 22.2...

Joan MIRO Sunday Guest II (l'invite du dimanche), 1969 Original etching and aquatint Handsigned with pencil Numbered / 75 On vellum 80 x 121 cm (c. 32 x 48 in) REFERENCES : Catalog...

Untitled, 1968 Sreenprint 21 1/2 x 21 1/2 inches Edition of 20 Biography Natvar Bhavsar (b. 1934) is an Indian born American artist. He is known for his abstract expressionist and color field paintings. Bhavsar earned is MFA at the University of Pennsylvania School...

Untitled, 1968 Sreenprint 21 1/2 x 21 1/2 inches Edition of 20 Biography Natvar Bhavsar (b. 1934) is an Indian born American artist. He is known for his abstract expressionist and color field paintings. Bhavsar earned is MFA at the University of Pennsylvania School...

Etching and aquatint, 1962 Handsigned by the artist in pencil and numbered 74/75 Printer : Jean Signovert, Paris Catalog : Schneider X 56.50 cm. x 76.00...

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 (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Spartito musicale. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects...

Engraving, 1968 Handsigned by the artist in pencil and numbered 100/100 Catalog : Schneider XXXIII 45.00 cm. x 53.00 cm. 17.72 in. x 20.87 in. (paper) 15.00 cm. x 23.00 cm. 5.91 in...

Francis Bacon Grand Palais, 1972: Vintage 1970s Francis Bacon exhibition poster published on the occasion of: Francis Bacon at the Gran...

Signed Lower Right Numbered 61/200 Sight Size: 27.5 x 21.5 Framed Size: 31.5 x 24.5 Andre Masson was born in Balagne, France on January 4,1896. He was an engraver, sculptor, stage d...

Signed Lower Right Numbered Lower Left 166/200 Framed Size: 33 x 25 inches Andre Masson was born in Balagne, France on January 4, 1896. He was an engraver, sculptor, stage designer...

This is a hand signed in pencil, vintage, limited edition lithograph modern art print, printed in Switzerland on Rives French art paper in 1968. in vivid shades of red, yellow and orange. It depicts a fantasy nude odalisque in the palace harem. Jean Carzou (Armenian: Ժան Գառզու, 1 January 1907 – 12 August 2000) was a French–Armenian artist, painter, and illustrator, whose work illustrated the novels of Ernest Hemingway and Albert Camus. Carzou was born Karnik Zouloumian (Armenian: Գառնիկ Զուլումեան) in Aleppo, Syria to an Armenian family. Carzou later created his name from the first syllables of his name and surname, and added a Parisian nickname, "Jean". He was educated in Cairo, Egypt before moving to Paris in 1924 to study architecture. Carzou belonged to the art movement called "La Jeune Peinture" ("Young Picture") of the School of Paris, with painters like Bernard Buffet, Yves Brayer, Jansem, Jean Carzou, Louis Vuillermoz, Pierre-Henry, Daniel du Janerand, Gaston Sébire, Paul Collomb, Jean Monneret, Jean Joyet and Gaëtan de Rosnay. He started working as a theater set decorator but quickly realized he preferred drawing and painting. In 1938, more than a hundred exhibitions of his works were organized in Paris, in the French provinces and abroad. In 1949, he received the coveted Hallmark prize. Carzou, like his contemporaries Salvador Dali, and Pablo Picasso was part of a generation that witnessed many wars and was deeply affected by it. Carzou made his first lithograph in 1951 and was prolific in both the lithographic and etching medium. He had solo exhibitions throughout the world and was elected to the French Academy of Fine Arts in 1977. In 1952, he created costumes and sceneries for Les Indes Galantes of Rameau at the Opéra de Paris. He continued with Le Loup (1953) for "Les Ballets" of Roland Petit, Giselle (1954) and Athalie (1955) at the Opéra and "La Comédie française". Carzou mastered a number of mediums, though his line drawing and engraving would become well known as illustrations for some of the 20th century's most revered writers, including Hemingway, Albert Camus, Ionesco and Rimbaud. Carzou produced stunning work of painted glass and porcelain, in pencils, gauche and pastels as well as oil painting, often choosing to work on textured or irregular fabrics and papers rather than traditional canvas. Carzou was elected a member of the Institut de France, Académie des beaux-arts, succeeding in the seat left vacant by the death of painter Jean Bouchaud in 1977. He was also awarded the National Order of Merit of France. Among his closest friends were the painters Daniel du Janerand, Gabriel Deschamps, Louis Vuillermoz, Pierre-Henry, André Vignoles, Pierre Gaillardot, Rodolphe Caillaux, Jean-Pierre Alaux, Bernard Buffet, André Hambourg, Emilio Grau Sala, Maurice Boitel, Paul Collomb, composer Henri Dutilleux, and the two brothers Ramon and Antoni Pitxot...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

Etching and aquatint on zinc, 1962 Handsigned by the artist in pencil and numbered 69/75 Printer : Jean Signovert (Paris) Catalog : Schneider IX 76.00 c...

1965 Screenprint in colors, on wove paper Image/sheet: 11 3/5 x 11 1/2 in. Edition of 200 Signed, dated and numbered in pencil, lower margin Framed, excellent condition

An Idol By The Name Of Baal or Ba'al depicts the Babylonian King kneeling before an serpent like idol. Ba'al was worshipped as a Lord and God and had many forms as the God of fertil...

"Cali" is a typical motif by Maurice Estève. The lithograph in colours was published in an edition of 100. 49,6 x 65 cm. Signed and numbered.

Title: Visione Prospettica leggermente laterale per Progetto di Metallo Monocromatico Nero di M. 2x1 Original cyanotype. Exhibitions: - Kunsthalle, Biefeld 1986, no. 56, p.112. - E...

Joan Miro Album 19, Plate 1 (Surrealist Portrait) Original Lithograph Handsigned in pencil Numbered / 75 On Arches 66 x 50 cm (c. 26 x 20 in) REFERENCES : Catalog raisonne Maeght /...

TECHNICAL INFORMATION Alexander Calder Acier du Constructeur, 1965 Lithograph 21 7/16 × 29 3/8 in 54.5 × 74.6 cm Edition of 75 Condition: This work is in excellent condition

Signed in pencil, numbered from the edition of 75. Printed on Mandeure rag paper by Arte Adrien Maeght, Paris. Published by Maeght editeur, Paris. (Dupin 440).

Plate 1 from 'Judgements'. Signed in pencil, from the edition of 100. Printed on Arches wove paper by Atelier Georges Visat, Paris. Published by Blue Moon Gallery, New York. Plat...

Signed in pencil, from the edition of 85. Printed on Lana wove paper and published by Georges Visat, Paris. Plate: 42 x 32.7 cm. (Sabatier 194).

Signed in pencil, numbered from the edition of 150. Printed by Atelier Maeght, Levallois. Published by Maeght, Paris. (Koelen 60002).

1963 Lithograph in colors, on Rives BFK paper Sheet: 23 7/10 x 18 7/10 in. (60.2 x 47.5 cm) Edition of 20 Signed and numbered in pencil, lower margin Unframed, excellent condition

Alexander Calder - Original Lithograph - Composition 1972 From the art review XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unnumbered as issued

Hand signed rf Lichtenstein in pencil and numbered lower right margin. Published by Leo Castelli Gallery, New York, Printer Chiron Press, New York. The Prints ofRoy Lichtenstein A Ca...

Joan MIRO Ouvrage du vent III, 1963 Original etching and aquatint Handsigned in pencil Numbered 32/75 On BFK Rives vellum 52 x 80 cm (c. 21 x 32 in) Published by Maeght Éditeur, Pa...

1963 Offset lithograph in colors, on wove paper Sheet: 17 1/8 x 23 1/8 inches Edition unknown Signed in pencil on lower right Framed, pristine condition

Sonia DELAUNAY Composition in Green, Blue and Red, 1969 Original lithograph (Printed in Mourlot workshop) Unsigned On heavy paper 31 x 24 cm (c. 12 x 10 inch) Edited by San Lazzaro...

Artist: Lee Krasner (American, 1908-1984) Title: "Poem" Portfolio: In Memory of My Feelings *Issued unsigned Year: 1967 (First edition) Medium: Original Lithograph on Mohawk Superfine Smooth paper Limited edition: 514/2,500 Printer: Crafton Graphic Company, Inc., New York, NY Publisher: The Museum of Modern Art, New York, NY Reference: "Lee Krasner: A Catalogue Raisonné" - Landau No. 447, page 236-237; "Lee Krasner" - Hobbs No. 64, page 143 Sheet size: 12" x 18" Condition: In excellent condition Rare Notes: With centerfold as issued. Numbered on colophon page. Comes from the 1967 "In Memory of My Feelings: A Selection of Poems" book volume by Frank O'Hara with approx. 46 unbound original lithographs by various artists. Collaboration: Edward Katz (printing). The last image of the complete book is for reference/provenance; it is not included. This image Krasner contributed to "In Memory of My Feelings: A Selection of Poems" by Frank O'Hara, edited by Bill Berkson, for the Museum of Modern Art. The project was published in 1967 in memory of Frank O'Hara, poet and associate curator at the museum, who died in a tragic accident in 1966. Bill Berkson (with the assistance of Kenneth Koch and John Ashbery) selected the poems and (with advice from Robert Motherwell) asked the following artists to contribute: Nell Blaine, Norman Bluhm, Joe Branaird, John Buton, Giorgio Cavallon, Allan D'Arcangelo, Elaine de Kooning, Willem de Kooning, Niki de Saint-Phalle, Helen Frankenthaler, Jane Freilicher, Michael Goldberg, Philip Guston, Grace Hartigan, Al Held, Jasper Johns, Matsumi Kanemitsu, Alex Katz, Lee Krasner, Alfred Leslie, Roy Lichtenstein, Marisol, Joan Mitchell, Robert Motherwell, Reuben Nakian, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Larry Rivers, and Jane Wilson...

Joan MIRO (1893-1983) King Ubu : Birds, 1966 Original lithograph Handsigned in pencil Numbered / 75 copies On Arches vellum 54 x 74.5 cm (c. 21.3 x 29.3 inches) REFERENCES : Catalo...

Lithograph, 1961 Catalog : Vallier171 Mourlot77 32.00 cm. x 25.00 cm. 12.6 in. x 9.84 in. (paper) 23.00 cm. x 19.00 cm. 9.06 in. x 7.48 in. (image) Handsigned by the artist in penc...

Lithograph, 1961 Catalog : Vallier 171 Mourlot 78 32.00 cm. x 25.00 cm. 12.6 in. x 9.84 in. (paper) 27.00 cm. x 20.00 cm. 10.63 in. x 7.87 in. (image) Handsigned by the artist in p...

Joan MIRO Ubu : The Family Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REFERENCES ...

Joan MIRO Ubu : The Gold Prospectors Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies R...

Joan MIRO Ubu : The Banquet Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REFERENCES...

Joan MIRO Ubu : King with two Women Original stone lithograph (Printed in Atelier Mourlot) Handsigned in pencil On Arches vellum 50 x 66 cm From a limited edition of 120 copies REF...

It is an abstract print which shows 4 triangles in 4 squares. It is dominated by strong red, other parts are printed in different red shades and black.

It is an abstract print which shows 4 triangles in 4 rectangles. It is dominated by a dark turquoise, other parts are printed in its shades and black. The 4 triangles are done in a b...

Gustave SINGIER Abstract Landscape wit Red Sun, 1966 Original lithograph Handsigned in pencil Numbered / 200 On vellum 32 x 25 cm (c. 13 x 10 inch) Excellent condition

Screenprint in colors, on wove paper Sheet: 30 3/8 x 22 1/2 in. (77.2 x 57.2 cm) Edition of 75 Signed in pencil, dated and inscribed 'Artist Proof' on lower margin

Sheet size: 24 1/8 x 24 1/8 inches Frame size: 26 3/4 x 26 3/4 inches Printer: Edition Domberger, Germany Publisher: Edition Domberger, Germany Edition: 125, plus proofs Catalogue r...

Pablo Picasso "Diurnes" (Femme Assise En Pyjama De Plage II) 1962 Linocut printed in ochre and brown, 1962, on Arches paper Inscribed "Epreuve D'Artist" (Artist Proof) lower left, as...

Bernhard Heiliger Title: Gestural Abstraction - Untitled Medium: Lithograph on Japanese paper Year: 1966 Signed, dated, numbered or inscribed Edition: 65 + h.c. Size: 26.9 × 20.3 on ...

Joan MIRO Album 19 : Plate 4, Man Handling his Head Original lithograph in black and white Signed in pencil with the monogram Numbered / 75 copies On vellum 66 x 51 cm (c. 26 x 20 i...

Color Lithograph Ed. 15/100 Signed and Numbered

Signed in pencil and inscribed. An arist's proof aside from the edition of approximately 20. Printed on cartridge paper by the artist's father, Roy C. Judd. Published by the artist. ...

Printer: Imprimerie Arte, Paris Publisher: Maeght Editeur, Paris Edition size: 75, plus proofs Catalogue raisonné: Axsom 29 Signed and numbered in pencil, lower margin

Original etching, aquatint, drypoint and carborundum printed in colors on wove paper bearing the “ARCHES / FRANCE” watermark Hand-signed in pencil lower right Miró. A superb, richl...

Original etching, aquatint and carborundum printed in colors on Mandeure rag paper.  Hand-signed in pencil lower right center Miró. A superb impression of the definitive state...

Signed and dated A/66. Color Screenprint. Published by Yves-Sillman, Inc., New Haven. Sheet 1; x 17" Image 11 x 11.No 37/200 of an Edition of 200. Ref: HH 168.

Printer: Imprimerie Maeght, Levallois-Perret, France Publisher: Maeght Editeur, Paris Edition size: 75, plus proofs Catalogue raisonné: Axsom 30 Signed and numbered, lower margin

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

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

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

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

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