1970s Abstract Prints

Artist: Richard Smith, British (1931 - 2016) Title: Times Square Remembered 2 Year: 1973 Medium: Lithograph, Screenprint, and Collage, Signed and numbered in pencil Edition: 42 Size:...

A black, white, and grey silkscreen by Josef Albers from, "Articulation : Formulation," published by Harry N. Abrams, 1972, and printed by Ives - Still...

A sketch of one of the most influential artists of the 20th century. The drawing was made with a pencil on paper. Untitled (from Codies Madrid) Granolithography - double-sided 1975 ...

Richard Paul Lohse Group of eight complementary squares with four rectangles (Gruppe von acht komplementären Quadrat Mit vier Rechtecken), 1976 Colo...

R.B. Kitaj (British American 1932-2007) Hand signed and numbered Screenprint Measures approximately 24.5 X 16.65 inches This is from the Robert Creeley daybook. They were done in ...

Spokes (1977) and Spokes: 2 State (1978). Each hand signed, dated, numbered and titled by the artist. Both prints have matching editions. Etching and aquatint on Pescia Italia paper....

Mark Tobey, American (1890 - 1976) - Transformation, Year: circa 1970, Medium: Screenprint on Richard de Bas, signed, numbered and titled in pencil, Edition: AP, Image Size: 15.75 ...

Kenneth Noland Limited Edition Canvas Tote, 1977 Mixed Media: Silkscreen on Canvas with handles and leather tag. Numbered with ink stamp 15 × 15 inches Edition 268/500 Plate signed and dated Kenneth Noland and stamp numbered from the edition of 500 Very good vintage condition with handling and creasing (see photos) This was not commercially marketed but was designed as a prototype with each one stamp numbered. Not too many are around, and very rarely found in such good condition. This work is sold unframed as shown in the first image, but for inspiration only, see a photograph of how one collector framed a different edition of this work - and it looks like a print or painting! (see last image) A true vintage collectors item.

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

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° 221,...

Lithograph on vélin paper. Paper Size: 12.5 x 9.625 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró,...

Artist: Antonio Calderara, Italian (1903 - 1978) Title: untitled from 9x5 Konkret Portfolio Year: 1973 Medium: Silkscreen on PVC foil, signed and numbered in pencil Edition: 25/200 S...

A sketch of one of the most influential artists of the 20th century. The drawing was made with a pencil on paper. Untitled (from Codies Madrid) Granolithography - double-sided 1975 ...

Gerlinde Beck (1930 Stuttgart-Cannstatt - 2006 Mühlacker-Großglattbach), Untitled, 1973. Series of four serigraphs, 29.8 cm x 29.8 cm, each signed in lead on the front and numbered on the reverse. Sheet 1-3 no. 74/100, sheet 4 no. 48/100. - Corners occasionally slightly bumped, minimal crease, otherwise in very good condition - Dancing Sculpture...

White Origin is a lovely silk-screen and copperplate engraving print on heavy paper, realized in 1973 by the Japanese artist Shu Takahashi. Unsigned, and not numbered, this specimen...

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...

Lone Boat At Dusk - Serigraph Print Original serigraph depicting a landscape scene with contrasts of black, blue and green. Hues of blue make up the ...

First edition serigraph created and designed by Jack Youngerman for Amnesty International in 1977. Signed in pencil by Youngerman. Artists for Amnesty, a series of art posters create...

Lithograph on vélin paper. Paper Size: 12.5 x 9.625 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró,...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Nouvelle série, XXXVIIe Année, N°45, Dé...

Blue Composition in a screenprint realized by Victor Debach in 1970s. 50x70 cm. Limited edition of 100. Handsigned in pencil on the right lower margin. Excellent condition.

Lithograph on vélin paper. Paper Size: 19.3 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Numéro spécial hors abonnement, Hommage...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Tonneau-Ryckelynck, Dominique, et al. Wilfr...

Hans Hartung, German (1904 - 1989) - Miro soir et matin, Portfolio: L'Emerveille Marveilleux, Hommage a Joan Miro, Year: 1973, Medium: Etching on Japon, signed and numbered in pen...

Claes Oldenburg Fagends Carved in Rock, De-Accessioned from the Denver Art Museum (137, Axsom and Platzker), 1975 Offset Lithograph. Hand signed and ...

Triangle on Axis by Alexander Liberman, Ukranian/American (1912–1999) Date: 1970 Lithograph, signed, numbered and dated in pencil Edition of 18/92 Size: 35 x 23 in. (88.9 x 58.42 cm)

29.88 x 22.36 ins (75.9 x 56.8 cms) Edition of 96 Signature:Signed "R. Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; artist's chop mark lower right ...

Artist: Yaakov Agam (1928) Title: Wash Art Year: 1978 Medium: Silkscreen on wove paper Size: 38.5 x 23.25 inches Condition: Excellent Inscription: Signed in colored ink Notes: Publis...

Lithograph on vélin paper. Paper Size: 12.5 x 9.625 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró,...

Mark TOBEY (1890-1976) Light Choreography, 1976 Original color screenprint Signed with the artist's stamp Numbered / 77 copies On Auvergne vellum 64.5 x 50.5 cm INFORMATION: Authen...

Abstract Composition is original lithograph realized by the artist Antoni Clavè. Hand signed on the lower right margin. Numbered on the lower left margin. This original print is from an edition of 50. Good conditions. Antoni Clavé (Barcelona, 1913 – St. Tropez, 2005) Antoni Clavé was a Catalan master painter, printmaker, sculptor, stage designer and costume designer. Nominated for two Academy Awards as Best Art Direction and Best Costume Design for his work for a Andersen's movie in 1952. One of Spain's best known and most celebrated artists, he changed his style, evolving from baroque, ornamental style to a minimal aesthetic. He is best known for his lyrical abstractions, artworks combing paint...

Engraving Handsigned by the artist in pencil and numbered 92/99 Publisher : La Nouvelle Gravure (Paris) 65.50 cm. x 50.00 cm. 25.79 in. x 19.69 in. (paper) 46.00 cm. x 26.50 cm. ...

"Silent Dancers" - 1977 Surrealist Lithograph on Paper 1977 surrealist lithograph on paper titled "Silent Dancers" by Jim Crabb (American, b. 1947). Lithograph featuring various ant...

Artist: Risaburo Kimura, Japanese (1924 - ) Title: City 362 Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: AP 35 Image Size: 25 x 20 inches Size: 29 in...

Letter X  from Alphabet series is a lithograph, realized by Rafael Alberti in 1972. Numbered, edition 52/99. Hand-signed.  The state of preservation is very good. The artwork rep...

Artist: Gilou Brillant (1935- ) Title: Untitled 23 Year: 1975 Medium: Aquatint Etching with Carborundum, signed in pencil Size: 22 x 14.5 in. (55.88 x 36.83 cm) Frame Size: 29 x 21....

Fred Alfred Theophil Fathwinter Untitled Gestural Composition Monotype Year: 1971 Signed, numbered and dated by hand Edition: 3 Size:11.75x8in.1 on 17x12in COA provided Ref.: 924802-1196 Fathwinter, artist name for Franz Alfred Theophil Winter (May 23, 1906 in Mainz, † June 27, 1974 in Düsseldorf), was an artist of the Informel. From 1924 to 1927 he studied at the State School for Arts and Crafts in Mainz and in 1929/30 in evening classes at the Städelschule in Frankfurt am Main. During the National Socialist period he was banned from exhibiting. His evacuation to Murnau in 1942 led to a closer acquaintance with Gabriele Münter...

Joan Miró M.1021 from L'enface D'Ubu portfolio Original color lithograph 12.75 x 19.5 inches, unframed 1975 From an edition of 20 hors commerce copies, numbered I to XX, aside the ed...

Green Composition is an original contemporary artwork realized by Mauro Reggiani in 1976. Mixed colored screen print. Hand signed on the lower right. Numbered on the lower left. E...

Signed lower right outside of block, 'Hiroyuki Tajima' (Japanese, 1911-1984) and dated 1973 with limitation and number, '50-4', lower center and titled lower left, 'The Rain'. Paper dimensions: 19.75 x 12.5 inches An elegant abstract comprising overlapping forms in deep ruby, coral and jade. Engraver and printmaker, Hiroyuki Tajima was born in Tokyo in 1911 and graduated from Nihon University in 1932. In 1934, he graduated from the Tokyo School of Arts with a specialization in western-style painting. Tajima later studied fabric dyeing under Hirokawa Matsugoro (1889-1952) and woodblock printing with the Sosaku-Hanga artist, Nagase Yoshiro (1891-1978), a founder of the Japan Print Association (Hanga Kyokai). In 1946, inspired by Dada and Surrealism, Tajima joined Bijutsu Bunka Kyokai, a group dedicated to exploring and reviving the abstract and surrealist painting ideals that had been suppressed during WWII. Tajima exhibited widely and with success, including with Tokyo's Modern Art Association ( Prix du Nouveau Venu, 1962), the Japanese Engraving Association, the Contemporary Japanese Art Exhibition in Tokyo (1962), the Northwest International Print Exhibition (1962-1964) and the Tokyo International Print Biennale (1964). His work is held in the permanent collections of museums worldwide including the Portland Art Museum (Oregon), the Cleveland Museum of Art, the Los Angeles County Museum of Art (LACMA), the Fine Arts Museums of San Francisco, the Art Gallery of Greater Victoria (British Columbia), the Art Gallery of New South Wales (Australia), the Carnegie Museum of Art, the National Museum of Art, Osaka (NMAO) and the British Museum in London. In describing Tajima's work, Frances Blakemore...

Lithograph on vélin paper. Paper Size: 19.3 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, Numéro spécial hors abonnement, Hommage...

Pierre SOULAGES Lithograph n°29 Original Lithograph (printed in Mourlot workshop) Printed signature in the plate On edition paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic ...

For Gene Swenson by James Rosenquist, American (1933–2017) Date: 1978 Etching/Aquatint with Embossing on Pescia Italia Edition of 37/78 Size: 23 x 40 in. (58.42 x 101.6 cm) Frame Siz...

Lithograph, 1976 Handsigned by the artist in pencil and numbered 12/100 Publisher : Bram Van Velde & Jacques Putman (Paris) Printer : Pierre Badey (Paris) Catalog : Mason-Putman 223 ...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Zao, Wou-ki. Zao Wou-Ki: Les Estampes, 1937...

Technical Information: Julian Stanczak Dimensional, from Twelve Progressions 1971 Screenprint 31 3/4 x 26 in. Edition of 90 Pencil signed and numbered Accompanied with COA by Gregg...

Lithograph, 1972 Handsigned by the artist in pencil and numbered 74/150 Publisher : André Sauret (Monte-Carlo) Printer : Mourlot (Paris) 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. ...

Lithograph, 1971 Handsigned by the artist in pencil and annotated "Epreuve artiste" Artist proof Printer : Erker Presse, St Gallen 76.00 cm. x 56.00 cm. 29.92 in. x 22.05 in. (pape...

Edition of 50 71 x 76 cm (28 x 30 ins) RSE023

"Miró Lithographe I - Plate VIII"  is a lithograph realized by  Joan Miró in 1972. Good conditions. It comes from the set of 11 lithographs realized for the catalogue "Miró Lithogr...

Allan Mardon, Canadian (1931 - ) - Release, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 23 x 29 inches, Size: 25.5 in. ...

Letter E from the Alphabet series is an original lithograph realized by Rafael Alberti in 1972. Hand-signed. Numbered. Edition, 44/99 prints. The state of preservation is very g...

TECHNICAL INFORMATION: Victor Vasarely Teke c. 1970 Screenprint 34 1/2 x 30 1/2 in. Edition of 250 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art. C...

P o th A a Vfb (Portrait of the Artist as Vogelfutterbüste) 1970 Plate 12.4 x 8.6 in. / 31.5 x 22 cm / Paper 30.7 x 21 in. / 78 x 53.5 cm Intaglio printing (halftone block) in black ...

Lithograph on Guarro vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Published by Galerie Börjeson, Malmö; printed by La Polígrafa, Barcelona, 19...

Dan Flavin Rare invitation poster for 1970 ACE Gallery exhibition, 1970 Letterpress and stencil on colored paper Not signed Frame included Floated in the original ACE gallery vintage wood frame. Measurements: Framed: 17.75" x 17.75" x 1.6 inches Poster: 16 inches x 16 inches Extremely uncommon letterpress and stencil poster designed by Dan Flavin on the occasion of his 1970 exhibition “Two Cornered Installations in Colored Fluorescent Light from Dan Flavin” at the legendary Ace Gallery in Los Angeles. The poster, like most exhibition invitations of that era (including those from the Leo Castelli gallery in New York) was undated, as these works were so much of the moment. This work was acquired directly from the collection of the ACE Gallery. Other than the present work, we've never seen another example of this collectors item anywhere in the world, on or off the market (If anyone is aware of others, we'd love to see!) More about the legendary ACE gallery, and the sale of some of its art collection from the bankruptcy estate, from where the present work was acquired: ACE Gallery founder Douglas Chrismas opened his own frame shop and gallery in Vancouver at the age of 17. His gallery became known as a venue where Vancouver artists could show alongside major New Yorkers, and get the feeling of belonging to a bigger scene. In the 60s and early 70s he brought artists such as Robert Rauschenberg, Carl Andre, Sol LeWitt, Bruce Nauman, and Donald Judd to Vancouver, Canada. The gallery expanded to Los Angeles in 1967 at the former Virginia Dwan Gallery space in Westwood, and then further expanded to New York in 1994. The galleries were noted for doing museum-level exhibitions by up and coming and internationally renowned artists. While in New York the gallery’s presence was amplified by doing exhibitions in conjunction with cultural institutions such as the Guggenheim Museum and the Cartier Foundation (Paris). Under Chrismas' directorship, ACE Gallery has had either offices or galleries in art centers outside of the United States, such as Mexico City, Paris, Berlin. and Beijing. In 1972, Chrismas mounted Robert Irwin’s installation Room Angle Light Volume at the first ACE/Venice, which opened at 72 Market Street in 1971. In 1977, ACE mounted exhibitions of work by Frank Stella and Robert Motherwell, along with Michael Heizer’s Displaced/Replaced Mass. Installed at ACE/Venice, the Heizer piece required that huge chunks be gouged out of the gallery floor to create recessed areas able to accommodate boulders. In April 2016, ACE Gallery emerged from a three-year bankruptcy proceeding under the leadership of Sam S. Leslie. In May 2016, founder Douglas Chrismas was terminated from all roles at the gallery. In July 2021, Douglas Chrismas was arrested by the FBI and charged with embezzlement. In May 2022, Douglas Chrismas was ordered to repay 14.2 million in ACE art sale profits, which were diverted to personal accounts. Chrismas is awaiting criminal trial in January, 2023. He faces up to 15 years in prison if convicted. Controversies In a 1983 lawsuit in Los Angeles federal court, Rauschenberg sought $500,000 from Chrismas' Flow ACE Gallery; the artist won a $140,000 judgment in the suit in 1984. Eventually the two reconciled their differences and in 1997 Robert Rauschenberg insisted that ACE Gallery New York (in conjunction with the Guggenheim Museum) host his Retrospective. In 1986, Chrismas pleaded no contest after Canadian real estate developer C. Frederick Stimpson alleged that he had improperly sold work belonging to the collector, among them pieces by Andy Warhol and Rauschenberg. Under the terms of the settlement, Chrismas agreed to pay Stimpson $650,000 over a period of five years. He continues to work with the Stimpson family in handling their art interests. In 1989, ACE Gallery wanted to borrow a work by Judd along with Carl Andre's 1968 Fall, both owned by Count Giuseppe Panza, for an exhibition devoted to minimal art called The Innovators Entering into the Sculpture. Rather than shipping the two large scale works from Italy, Panza authorized ACE Gallery to refabricate the pieces in Los Angeles. In Panza's collection archives, there is a series of signed certificates signed by Judd that granted Panza broad authority over the works by Judd in his collection. These certificates "authorized Panza and followers to reconstruct work for a variety of reasons," as long as instructions and documentation provided by Judd were followed and either he or his estate was notified. This even included the right to make "temporary exhibition copies, as long as the temporary copy was destroyed after the exhibition; and the right to recreate the work to save expense and difficulty in transportation as long as the original was then destroyed." Miwon Kwon, in her account of site specificity: "One Place After Another," presents the account of ACE Gallery recreating artworks by Donald Judd and Carl Andre without the artist's permission. Andre and Judd both publicly denounced these recreations as "a gross falsification" and a "forgery," in letters to Art in America, however, the fabrication of the pieces were permitted by Panza Collection in Italy, the owner of the works. Despite the confusion surrounding the Panza refabrications, both Carl Andre and Donald Judd maintained a professional relationship with Douglas Chrismas and ACE Gallery. Andre showcased works at ACE Gallery in 1997, 2002, 2007, 2011 and present day. In 2007, Carl Andre's show entitled "Zinc" was exhibited at ACE Gallery in Beverly Hills. Donald Judd paid a visit to The Innovators Entering into the Sculpture exhibition at ACE Gallery and agreed to keep his sculpture in the exhibition. After the exhibition was over, Chrismas planned to sell the metal used for the re-fabrication of Judd's work for scrap metal but Judd wanted to own the re-fabrication for himself. ACE Gallery then sold the re-fabrication of Donald Judd's work to Donald Judd. After having consigned more than $4 million worth of art to ACE Gallery to sell in 1997 and 1998, the sculptor Jannis Kounellis filed a lawsuit in Los Angeles Superior Court in 2006, accusing Chrismas of keeping most of the profits of artworks and refusing to return the pieces that did not sell. According to the lawsuit, the primary agreement between Kounellis and Chrismas was oral. Chrismas returned all of Kouenllis' artwork, and did a full accounting of the proceeds from Kounellis' work—minus the expense of exhibiting it. The matter was resolved between the two of them and ACE Gallery still sells and exhibits Kounellis' work today. By 2006, Chrismas had filed for Chapter 11 bankruptcy protection at least six times since 1982, barring most of his creditors from collecting the money immediately owed to them. Chrismas filed for Chapter 11 bankruptcy to protect the gallery's extensive real estate holdings from the problematic landlord. The landlord of the Wilshire Boulevard space, Wilshire Dunsmuir Company, claimed that ACE owed back rent and penalties however, the claim was disputed by Douglas Chrismas. In court papers, Chrismas Fine Art claimed that it would cure "the pre-petition" debt by Feb. 1, 2000, and was asking the court to protect its right to remain in the property. A declaration filed by Douglas Chrismas characterized this leasehold as the business' primary asset. -Courtesy Wikipedia About Dan Flavin Dan Flavin (1933–1996) was a pioneer of Minimal Art. He rose to fame in the 1960s with his work with industrially manufactured fluorescent tubes, inventing a new art form and securing his place in art history. The exhibition at the Kunstmuseum Basel focuses on his works that are dedicated to other artists or make reference to certain events. Back in 1963 Dan Flavin mounted a single, industrial fluorescent light tube at a 45-degree angle to the wall of his studio declaring it art; the act was radical, and it still is. Indeed, it was owing to this action that standard commercial products would be introduced into art: The nascent Minimal Art of the era emphasised seriality, reduction and matter-of-factness. Somewhat ironically, while the autodidact Flavin never himself sought membership to this movement in art, he would, and quite literally, go on to become one of its most illustrious exponents. Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called ‘situations’, he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated color from the two-dimensionality of painting. The prevalent perception of his light works has, to date, largely centred on their minimalist, industrial aspect, and thus on the inherent simplicity of their beauty. The exhibition at Kunstmuseum Basel, by contrast, places emphasis on looking at Flavin’s oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists—as in the work untitled (in memory of Urs Graf...

’Minimum colour contrast with orange’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 1/20 Signed - Yes Size - 790mm x 570mm Date -1977 Condition - Excellent. 10 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

Red Angel, intensely and seductively colored: swooning purples and reds, ecstatic lemon yellows, and black construction paper. Jostling shapes, geometric and biomorphic, lyrical and ...

Original Lithograph 38 3/8 x 28 inches Signed Lower Right Dated and Numbered 25/28 Lower Left

Lithograph on vélin d’Arches paper. Paper Size: 19.5 x 14.125 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and ...