1960s Abstract Prints

Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art...

Wood engraving, 1965 Handsigned by the artist in pencil and numbered 187/300 Publisher : Geigy A.G., Bâle, Suisse Catalog : [Arntz 245] 58.50 cm. x 39.50 cm. 23.03 in. x 15.55 in. (...

"Poles" Minimalist Abstract Lithograph on Paper Bold abstracted lithograph by Arnold Mesches (American, 1923-2016). Negative space is filled in wi...

Artist: Brian Rice (1936) Title: Flasher Year: 1967 Edition: 67/175, plus proofs Medium: Lithograph on wove paper Size: 28.5 x 25 inches Condition: Excellent Inscription: Signed and ...

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...

Three Horses Robert Goodnough, American (1917–2010) Date: 1961 Lithograph, signed, numbered, dated and titled in pencil Edition of AP Image Size: 11.25 x ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 164-165, 1967. Published by Aimé Maeght, Éd...

Doug Ohlson Untitled 1960s Op Art Silkscreen, 1968 Color silkscreen on wove paper 22. × 18 1/5 inches x .5 inches Hand signed, dated and numbered 15/50 on the front Frame included: h...

KIMBER SMITH Untitled Abstract Expressionist Geometric Abstraction, 1967 Lithograph on Rives paper 25 × 19 3/5 inches Signed in silver...

A very good impression of this color lithograph. Printer's proof, annotated P.P. 1 from the unknown edition size. Printed by United Church Press, Boston/Philadelphia. Published by Un...

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...

This large Allen Jones lithograph is printed exuberantly in primary colors. A swath of bright red brushstrokes represents the side of a bus. In the upper left, small windows reveal the passengers: a woman’s face is cut off above her vampy red lips, and a blue-haired man’s face is hidden. Royal blue fills the upper right corner of the composition, giving the impression of looking up at a passing bus against the cloudless sky. One can imagine Jones was thinking of the iconic red double decker bus the AEC Routemaster, first introduced in London in 1954. In the 1960s buses were a living symbol of familiar and new technology coexisting: as David Bucken put it, “In and around London a midpoint change on a journey might involve alighting from an RT bus, of which production had started just prior to World War II, and getting on one of the sexy new Routemasters.” In the artist’s words: “The whole problem as a figurative artist was that it was going against the main march of modernism, which was towards abstraction. But here was a way of making the subject you were painting the same as the object you were painting on. By making the canvas a rhomboid, and putting little wheels on it, you have a schematic version of a vehicle, in this case a London bus.” Jones plays with the space between abstraction and figuration: windowed passengers, elaborated with just a few lines and placed adjacent to a weighty red ground of brushstrokes, easily convey the form of a bus, yet the print also conveys Jones’ visceral, painterly delight in color play. Four color lithograph on wove paper Paper 28.5 x 42.5 / 72.4 X 108 cm Wood frame 31 x 46 x 2 in. / 78.75 x 117 x 5 cm with 1 in. moulding Signed by the artist lower right in pencil, labeled Trial Proof lower left in pencil. Edition 20. Printed at Tamarind Los Angeles with Clifford Smith...

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

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

Artist: Jim Dine Title: ART Year: 1968 Medium: Lithograph, signed and numbered in pencil Edition: 92/144 Paper Size: 35 x 24.75 in. (88.9 x 62.87 cm)

Lithograph, 1960 Unsigned lithograph from the book "Drawings for the Bible" composed of 24 color lithographs Publisher : Verve (Paris) Printer : Mourlot (Paris) Catalog : Mourlot 240...

Abstract composition is a composition realized in 1969 by the artist Kuri Tsushimoto. Mixed colored lithograph. Hand signed, dated and numbered on th...

Brian Wall Untitled Hard Edge Minimalist Etching (Geometric Abstraction) from the 1960s, 1969 Etching on wove paper with deckled edges Hand signed and numbered 22/75 by the artist in...

Fleur d'Helice, 1969 Lithograph in colors on Chiffon de Mandeure paper Maeght Editeur, Paris 29.5 x 43.3 inches Signed and numbered in pencil, edition 62 of 75 Professionally framed...

Instant Nutriment #4, 1969 - Modern Pop Art Psychedelic Print A vintage psychedelic print, Instant Nutriment #4, 1969 by Peter Max (German, b. 1937). Unframed. Shipped Rolled in tube. Some edge wear to paper. Image: 36"H x 24"W One of the most famous of all living artist's, Peter Max is a pop culture icon. His bold colors, uplifting images and an uncommon artistic diversity have touched almost every phase of American culture and has inspired many generations. Peter Max has painted for six U.S. Presidents and his art is on display in Presidential Libraries and in U.S. Embassies. Max has painted our Lady Liberty annually since America's Bicentennial and in 2000 a collage of his Liberties adorned over 145 million Verizon phone books. Max has been named an official artist of the 2006 U.S. Olympic Team at the Winter Olympics in Turin, Italy. He has also been Official Artist of 5 Super Bowls, World Cup USA, The World Series, The U.S. Open, The Indy 500, The NYC Marathon...

Artist: Robert Indiana, American (1928 - 2018) Title: New Glory Banner from the American Dream Portfolio Year: 1963 (1997) Medium: Serigraph Edition: 395 Image Size: 17 x 10 inches S...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 144-145-146, 1964. Published by Aimé Maeght, Éditeur, P...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler Pencil signed AP, one of 25 proofs aside from the regular edition of 200 Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. This work has been newly framed in a museum quality wood frame under UV plexiglass. The original label from the famed John Berggruen Gallery in California has been affixed to the back to preserve provenance. Other examples of this coveted 1965 work can be found in major institutional and museum collections worldwide. Measurements: Framed 29 inches vertical by 24 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Untitled is an original contemporary artwork realized by Gianni Dova in 1960. Mixed colored screen print. Artist's proof, not signed. Includes frame (112.5 x 83 cm). Good conditi...

Héliogravure on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Joan Miró, Femmes, 1965. Published by Maeght Éditeur, Paris; printed ...

  Jeremiah's Prophecy Against the King Joachim, 1967 is a colored lithograph from the original gouache on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite ...

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...

A lithograph from the portfolio "Seeing Voices", a collection that also includes several poems. This abstract piece by Paul Jenkins is signed and numbered on the front of the print i...

Manifest Galerie Jacques Péron is an original colored lithograph on wove paper realized for an exhibition of Various Artists in 1960s. The artwork is signed and dated. Good Condi...

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...

Joan Miró One plate from DLM "Peintures Murales de Miró" Medium: Color lithograph Publisher: Maeght, Paris Size: 13.3 × 10.7 on 14.8 × 10.9 inches Reverse Side: Continued text about "Peintures Pour De...

Sonia Delaunay Rythme-couleur, 1962 Lithograph on Fabriano wove paper 27 3/5 × 19 7/10 in l 70.2 × 50 cm Frame included - 32 1/3 x 24 4/5 l 83 x 63 cm Edition of 40 Condition: Overa...

Isaias 5 ....The vineyard of the Lord of hosts is the house of Israel.... The Chosen Vineyard is a 1964 colored lithograph signed in the plate from the original gouache and is print...

Artist: Gene Davis Title: Yoyo Portfolio: Series II Medium: Screenprint on canvas laminated to board Date: 1969 Edition: 110/150 Frame Size: 36 1/2" x 26 1/2" Sheet Size: 30 1/8" x 2...

Alan Shields Lonely Night, 1969 Screenprint and Pochoir with collage on perforated paper Pencil signed, numbered and dated from the limited edition of 100 Unframed Mixed media colla...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacré a Georges Braque, Derniers messages,...

Lithograph on vélin de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, tête edition, Consacre a Pierre Reverdy et Georges Braque,...

Lithograph Handsigned by the artist in pencil and numbered 3/50 66.50 cm. x 52.00 cm. 26.18 in. x 20.47 in. (paper) 64.00 cm. x 50.00 cm. 25.2 in. x 19.69 in. (image) After the “Bl...

White Horse is an original lithograph realized by Marino Marini in 1966. Hand signed in pencil on the lower right margin. Edition of 55 prints. Good condition except for some small r...

Cover for Derrière Le Miroir is an original lithograph realized by Antoni Tapies for the Art Magazine Derrière le Miroir no. 175, in 1968. Printed by Ateliers de Maeght, Paris, 19...

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 174, 1968. Published by Aimé Maeght, Éditeur, Paris; print...

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)...

Yoshida, Masao (Japanese, born 1934.) UNTITLED. Aquatint with soft-ground etching, 1963. Edition of 30, printed on Arches paper. Signed, dated, and numbered 21/30 in pencil. 30 X 22...

Lipstick Unknown Artist Date: 1965 Screenprint on Arches, signed, numbered, dated and dedicated in pencil Edition of 4/30 Image Size: 17 x 12 inches Size: 22.25 x 15 in. (56.52 x 38....

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 121-122, 1960. Published by...

Ruth Kerkovius (Latvian/American 1921-1970) "Village in Southern Italy" Edition 10/30, Landscape Etching/Drypoint/Aquatint signed and numbered in Pencil, 16.25 x 24.75, Late 20th Century, 1967 Colors: Black, Brown, Blue, White, Red She was born in Latvia in 1921. She received her early training in Munich, Germany, working in theatre Costume History and Design, and in painting before she came to America. Once in New York she studied at the Art Students League, the School of Visual Arts, the Pratt Graphic Art Center under Frasconi, and then continued at Pratt on a fellowship to work under Michael Ponce de Leon...

The 50th Anniversary of the League of Women Voters Screenprint Poster from 1970, designed by Richard Anuszkiewicz (1930 - 2020) printed in 1969,...

Joan Miró One plate from Derrière le Miroir no. 128: Peintures Murales de Miró Medium: Color lithograph Publisher: Maeght, Paris Signature: Unsigned Edition: Unnumbered from an editi...

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...

Moderna Museet ( the Red Model ) Oct -Nov ’67 is an original poster for an exhibit of works by renowned surrealist painter, Rene Magritte ( 1898 – 1967 ). It was held at the Moder...

Hand Signed. Edition of 50 copies (14/50). Image Dimensions : 22 x 30.5 cm

Robert MOTHERWELL Abstract Composition Original etching and aquatint Unsigned On Johannot vellum 37.5 x 28 cm (c. 15 x 11 inch) Published by Lazar Vernet in 1967 and limited to 200 ...

Antoni Tàpies Lithograph c. 1968 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. Fr...

A lithograph from the portfolio "Seeing Voices", a collection that also includes several poems. This abstract piece by Paul Jenkins is signed and numbered on the front of the print i...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 131, 1962. Published by Aimé Maeght, Éditeur, Paris; pr...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 129, 1961. Published by Aimé Maeght, Éditeur, Paris; pr...

This piece is an original etching, aquatint, dry-point and carborundum by Joan Miro, done in 1969. It is hand signed and numbered 54/75 from the edition of 75 copies on Arches, plus ...

ARTIST: Salvador Dali TITLE: Les Metamorphoses Erotiques MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Edita: a L'Erotitiade/Editions des trois Continents ME...

This lithographic poster was printed in 1966 at the Atelier Mourlot in Paris to promote an exhibition of Leger's works at the Musée Cantini in Marseille in the summer of 1966. Leger ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 166, 1967. Published by Aimé Maeght, Éditeur, Paris; pr...