1970s Abstract Prints

Piero Dorazio Colored Ribbons Lithograph Printed signature in the plate On edition paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic Games in Munich, 1972 Excellent condition

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....

Ben Schonzeit Yankee Flame, from the portfolio: America: the Third Century, 1975 Collotype on wove paper Pencil signed and numbered 50/200 on the front Publisher: APC Editions, Chermayeff & Geismar Associates, Inc Printer: Triton Press 27 × 19 3/10 inches Unframed Note: this is the original hand signed and numbered collotype; not to be confused with the separate (unsigned) poster edition. This hand-signed, numbered and dated collotype in colors by photorealist pioneer artist Ben Schonzeit was created in 1975 for the portfolio America: the Third Century, commissioned by Mobil Oil Corporation in which 13 American artists, including Roy Lichtenstein, Ed Ruscha, Robert Rauschenberg, James Rosenquist and others created works celebrating America's bicentennial. Yankee Flame combines the iconic images of George Washington, Coca-Cola and the Statue of Liberty into a collaged interpretation of contemporary American life and the meaning of freedom. "Yankee Flame" is in excellent condition and never framed. It was acquired as part of the America: The Third Century full portfolio. Ben Schonzeit (b. 1942, Brooklyn, New York) is one of the original Photorealist painters and is considered to have pioneered the airbrush technique. His works often depict still life arrangements that are intentionally out of focus. He received his B.F.A. from The Cooper Union in 1964 and has since had over 50 solo exhibitions both in the United States and abroad. His paintings are held in numerous museum collections including the Solomon R. Guggenheim Museum in New York, Virginia Museum of Fine Arts in Richmond, Virginia, and the Metropolitan Museum of Art in New York. In 1973 Nancy Hoffman introduced me to Ben Schonzeit in the backroom of her gallery on West Broadway. She had been open less than a year, and Ben was one of the artists in her original stable. His large Crab Blue It had arrived from his studio a few days earlier and was leaning against the wall. I thought at the time it was one of the most impressive, virtuosic Photorealist works I had seen. That first encounter was more than a quarter of a century ago and I have always considered it to be one of the quintessential, tour de force paintings of American Photorealism. In the early seventies one could stand on West Broadway on any pleasant, sunny weekday and see less than a dozen people on the street between the Nancy Hoffman Gallery and OK Harris Works of Art. Almost all of the SoHo galleries, such as Leo Castelli, Paula Cooper, Ward-Nasse, and Ivan Karp’s Hundred Acres, could be visited in an afternoon. At night the streets were almost deserted. With the exception of Andy Warhol, there were no art world superstars. More importantly, none of the artists expected to achieve celebrity status. That was a phenomenon of the eighties and nineties. There were a only a handful of restaurants and watering holes, such Elephant and Castle, Fanelli’s, the Spring Street Bar and Prince Street Bar. Fanelli’s closed on weekends, which was a holdover from their sweatshop clientele during lunch and ragtag group of artists in the evenings. In those early days of SoHo, the drafty, raw sweatshop spaces with their large windows, rough floors, and service elevators provided large, inexpensive living quarters and studios for many artists. Unlike today, there were no boutiques. The area was not chic and with the exception of Lowell Nesbett’s showplace, the lofts were not glamorous. Schonzeit was in the same living and working space the he now occupies when I first visited him, but SoHo was a very different time and place. When the National Endowment of the Arts recommended me to curate America 1976, which turned into one of the major visual arts projects for the Bicentennial, Ben Schonzeit was on the first list of participants I made up for the U.S. Department of the Interior. His large diptych, Continental Divide, was one of the most memorable works produced for the exhibit. I stopped by his studio four or five times while it was in progress and have visited him many times over the years. We have maintained a very cordial working relationship and friendship over the past three decades. I saw The Music Room exhibit in 1978 and realized at the time that the vigorously rendered mural sized canvases and mirror and related works represented a major catharsis in his painting. In many ways, it and the other paintings and drawings based on the same image represented a sharp, decisive break with the tenets of Photorealism, or at least the photo-replicative aspects that had been so widely heralded in America and abroad in the mid-seventies. Over the years we have continued to work together. He has been in almost all of the major exhibitions I have curated here and abroad and in almost all of the books I have written. I am familiar with his studio habits, his quiet, internalized restlessness that manifests itself in the hundreds of small, unknown drawings and watercolors, doodles on napkins during lunch, and imaginary landscapes. I also know that he would rather do a painting than think or talk about it. Over the years I have followed the shifts in his studio procedure from the monumental airbrushed fruit and vegetable paintings to the most recent bouquets of flowers and decorative paintings. Our discussions of these matters tends to lapse into a verbal shorthand at this point. The following essay is based on both my longstanding familiarity and admiration for his work and involvement with contemporary realism and figurative painting. A booklet of color xeroxes with notes made up by Schonzeit was extremely helpful. In addition to several interviews, much of the information unfolded through a lengthy series of Emails. Due to our different working habits these were composed and sent out very late at night and answered by Ben the following morning. They dealt with the specifics of many of the paintings, generalities, his background and childhood in Brooklyn, and occasional bits of art world gossip. And there were odd discoveries. Prior to discussing his witty, tongue in cheek painting of Buffalo Bill, I did not know or had long forgotten that William Cody...

Lithograph, 1975 Handsigned by the artist in pencil Signed on the plate Edition : 220 ex. Publisher : Philips Data Systems 39.00 cm. x 48.00 cm. 15.35 in. x 18.9 in. (paper) 32.50 ...

"Rabbit" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Rabbit" by Jim Crabb (American, b. 1947). This piece resembles a surreal landscape, with b...

Joan Miro Miro Abstract Lithograph Artist: Joan Miro Plate III from “Miro Lithographs I” Medium: Lithograph on Rives vellum Year: 1972 Image Size: 10" x ...

Artist: Joan Miro Title: Plate I Portfolio: Lithographe I Medium: Lithograph Date: 1972 Edition: Unnumbered Frame Size: 18 1/2" x 16" Sheet Size: 12 1/2" x 10" Image Size: 12 1/2" x ...

The front cover of Derriere le Miroir (DLM) No. 183 features the work of the renowned Spanish Basque sculptor and artist Eduardo Chillida. This issue, published by the esteemed Frenc...

Image dimensions: 30 x 22 cm. Turquoise and Brown Composition is a beautiful color etching on paper, realized around the 1970's by an artist that signed " J. Hannes" on lower right...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

Lithograph, 1976 Handsigned by the artist in pencil Artist proof Printer : Mourlot, Paris 65.50 cm. x 60.50 cm. 25.79 in. x 23.82 in. (paper) 57.00 cm. x 49.00 cm. 22.44 in. x 1...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Lithograph on vélin de Rives paper. Inscription: hand signed and unnumbered, as issued. Good condition. Notes: From the folio, Variations sur l'imaginaire, 1972. Published by Philipp...

Artist: Alexander Calder Title: Derriere Le Miroir No. 201, Untitled Single Lithograph from the Derriere le Miroir No. 201 publication. Unsigned and unnumbered from an edition of p...

Title: The beloved feeds among the lilies (Field 71-17J; M&L 477), from the portfolio, The song of songs of King Solomon Year: 1971 Medium: Etching printed in colours with gilding on...

Untitled  is an artwork realized by Dorothea Tanning  in 1974. Colored lithograph. Good conditions. Printed by  Atelier Pierre Chave in Vence, France. This lithograph was realized...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 193-194. Published by Aimé Maeght, Éditeur,...

A multicolored abstract lithograph by American artist James Rosenquist. This is number 36 from the edition of 100. Signed and dated lower right. Numbered and titled lower left. 37" ...

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...

Roberto Matta, Chilean (1911 - 2002) - Droites Liberees II, Year: 1971, Medium: Etching and Aquatint on Japon, signed and numbered in pencil, Edition: 73/100, Image Size: 8.5 x 6...

Letter T is a beautiful original black and white lithograph on heavy paper, realized by the Spanish poet Rafael Alberti (Puerto de Santa Maria,1902 – 1999) in...

Artist: Alexander Calder (1898-1976) Title: Beastie, Braniff International Airways Flying Colors Collection Year: 1975 Medium: Lithograph on vélin d’Arches paper Size: 20 x 26 inches...

Friedrich Geiler Geometric Composition in Green (Konkrete Kunst, Constructivsm, Geometric Abstract, Op-Art) Giclee on heavy cotton paper 2021 Size: 18.89 x 24.01 inches (48 x 61 cm) ...

Green Cosmos - Orange is a lithograph realized by Eleni Zerva  in 1971. Hand-signed and numbered on the back.  Edition of 120 prints.   Very good condition.

Romare Bearden Louisiana Serenade (from Jazz Series) - 1979 Print - Lithograph Framed - 33 x 42 inches Edition: Signed in pencil and marked 159/175 Romare Bearden is among the pree...

Lithograph, 1974 Handsigned by the artist in pencil and numbered 35/100 Publisher : Galerie Börjeson (Malmö) Printer : La Poligrafa, S.A. (Barcelone) Catalog : [Maeght 938 p. 75 ; Cr...

Edition of 50 76 x 76 cms (30 x 30 ins)

Color abstraction is an rtwork realized by Giovanni Dova in 1970s .  Screenprint on paper, 90 x 70 cm with frame. Edition 182/199. Hand signed bottom right. Born in Rome on 8 J...

Joe Goode Grey Folded Clouds - IV Grey 1971 Lithograph, Edition of 50 50.8 x 75 cms (20 x 29 1/2 ins)

"Sometimes is forever" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Sometimes is forever" by Jim Crabb (American, b. 1947). This piece resembles a surreal landscape, with various biomorphic objects floating in the sky. Some of them resemble coral, growing vertically. Others look like microscopic organisms, with stringy tails. Titled, numbered, signed, and dated along the bottom edge: Sometimes is forever 16/50 J CRABB...

Lithograph on Guarro vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Published by Art Conseil, Paris; printed by La Polígrafa, Barcelona, 1974 in...

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. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Ediciones Polígrafa, Redfern Gallery, 1979. Published by Redfern Gallery, London...

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,...

"Obliques" is an etching hand-signed and numbered etching realized by Max Ernst in 1967. This is an edition of 57 prints. Passepartout included. Very good condition. Published by Ge...

Lithograph on Japan paper, realized in 1973. Image dimension 20.8x14.2 / Shee dimension 31.5x23.4 cm. Edition of 79. Hand signed and numbered 35/79. Color variant of the suppleme...

Carl Andre Untitled (0813), 1976 Rubber stamp relief print Artist Stamp and Copy Right on the back. It is from a limited edition of 1000. Frame Included This is Minimalist master Car...

hand pulled limited edition lithograph signed and numbered by the artist Our gallery also presents paintings, prints and sculpture by Southwestern luminary, DAN NAMINGHA. Our colle...

Silksreen Handsigned by the artist in pencil and 143/300 Catalog : Benavides 1168 58.00 cm. x 50.00 cm. 22.83 in. x 19.69 in. (paper) 40.00 cm. x 40.00 cm. 15.75 in. x 15.75 in. (i...

Lithograph on vélin paper. Paper Size: 12.5 x 19.25 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patric...

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: 12.5 x 9.625 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, and Joan Miró. Joan Miró,...

RUNNING HORSE is an original hand drawn, limited edition lithograph by the Dutch artist Karel Appel printed using hand lithography techniques on Arches paper, 100% acid free. RUNNING...

Pierre Clerk Plate II : Green - 1973 Print - Silkscreen on Somerset paper 32'' x 36'' Edition: Signed in pencil and marked 22/100 image size: 28" x 32" i...

Peter Saul Shicago Justus (Chicago Justice) from Conspiracy: The Artist as Witness, 1971 Lithograph on Arches paper Edition AP (Rare AP, aside from the regular edition of 150) Hand-s...

Lithograph on vélin paper. Paper Size: 12.5 x 20 inches, with centerfold, as issued. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cramer, Patrick, ...

"Not the sun!" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "Not the sun!" by Jim Crabb (American, b. 1947). This piece resembles a surreal ocean...

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,...

Geometric Composition is an original mixed colored serigraph realized by Amintore Fanfani in 1972. Hand-signed and dated on the lower right. Numbered on the lower left. Edition of...

Image dimensions: 5.5 x 18 cm. Abstrahierte Landschaft is a black and white etching on paper realized the 1970's by an artist whose signature is not completely readable. Signed "Y...

Lithograph, 1976 Handsigned by the artist in pencil and annotated EA 4/8 Publisher : Jacques Putman (Paris) Printer : Pierre Badey (Paris) Catalog : [Mason Putman 224] 63.00 cm. x 7...

A limited edition screenprint from the Inward Eye portfolio. The work bears the publishers stamp verso and is unsigned from the edition of 500. Artist: Richard Anuszkiewicz, America...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 190, published by Aimé Maeg...

Untitled is an artwork realized by the English artist Martin Bradley in 1971. Lithograph on paper, hand-signed and dated on the lower righ...

Letter X by Rafael Alberti, from Alphabet series, is an original lithograph, realized by Rafael Alberti in 1972. Hand-signed and numbered, edition of 99 pri...

Hand Signed. Edition of 90 pieces. Very good conditions.

Lithograph on vélin d’Arches paper. Paper Size: 19.5 x 28.25 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné refere...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, N° 221, 1976. Published by Aimé Mae...

Composition is an abstract color lithograph realized by Alfred Manessier. Hand-signed and numbered. Edition 30/200 prints. This splendid artwork is preserved in very good conditio...