1970s Abstract Prints

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XIII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 71 cm Condition: In v...

Original Edition Offset Lithograph on archival paper. Edition: 1,500. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Published by Whitney Mus...

Series 1 Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint on Arches, Signed and Numbered in Pencil Edition of AP 11/20 Size: 31.5 in. x 31.5 in. (80.01 cm x 80.01 cm)

Sam Francis Untitled (from Fresh Air School), 1972 Lithograph on wove paper, for the Carnegie Museum of Art 15 × 22 inches Limited Edition of 6,000 (unsigned edition; there is a sepa...

Tess Jaray Mistral - 1970 Print - Silkscreen on Heavy Paper 28.75'' x 24.5'' inches Edition: Signed in pencil and marked 35/75 Unframed Tess Jaray studied...

Vole de Nuit, 1975 lithograph in colours hand-signed and numbered by the artist 75 x 56 cm Edition of 75 Sonia Delaunay, a pioneering figure in the world of modern art, made signifi...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Homage to the Cross II Year: circa 1970 Medium: Serigraph, signed and numbered in pencil Edition: 100 Image Size: 17 x 17 inches Si...

Lithograph Handsigned by the artist in pencil and annotated HC 53.00 cm. x 67.00 cm. 20.87 in. x 26.38 in. (paper) 55.50 cm. x 43.50 cm. 21.85 in. x 17.13 in. (image) Certificate o...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 37...

Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition. Notes: From Derrière le miroir, N° 211, published by Derrière le miroir, Paris; printed by Galerie Mae...

Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition. Notes: From Derrière le miroir, N° 211, published by Derrière le miroir, Paris; printed by Galerie Mae...

Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good Condition. Notes: From Derrière le miroir, N° 211, published by Derrière le miroir, Paris; printed by Galerie Mae...

Untitled - Chinese Characters (Red on Mauve) Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of 125 Size: 30 x 22 in. (76.2 x 55.88 cm)

Ian Tyson Diversions XI - 1970 Screen Print 16'' x 15'' inches Edition: signed in pencil and marked 107/150 Ian Tyson, British painter, printmaker and book artist, was born in Walla...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 43, 1974. Pub...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró II Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Condition: In v...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 41, 1973. Pub...

Times Square Fragment #8 Chryssa, Greek (1933–2013) Date: 1979 Screenprint, signed and numbered in pencil Edition of 300 Size: 32 in. x 25 in. (81.28 cm x 63.5 cm)

Salvador Dali Surrealist Skeleton, 1975 Original etching Signed in pencil Limited to 100 copies (Here numbered 52) On Arches vellum 32.5 x 25 cm (c. 12.7 x 9.8 in) REFERENCES : ...

Chinatown 2 Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, Signed and Numbered in Pencil Edition of 66/250 Size: 38 x 31 in. (96.52 x 78.74 cm)

Original Edition Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, n°37, 197...

Lithograph, ca1970 Handsigned by the artist in pencil and numbered 37/75 65.00 cm. x 48.00 cm. 25.59 in. x 18.9 in. (paper) 60.00 cm. x 46.00 cm. 23.62 in. x 18.11 in. (image) Arch...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 43, 1974. Pub...

Artist: Salvador Dali Title: Cyclopean Make-Up Portfolio: Imaginations and Objects of the Future Medium: Lithograph with collage Year: 1975 Edition: I-41/250 Sheet Size: 30 1/4" x 22...

Conrad Marca-Relli - Composition II Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition number: 59/75 Size: 56 x 76 cm Condition: In very good conditions and ...

Barbara HEPWORTH Orchid, 1970 screenprint, ed. of 60 22 7/8 x 30 3/4 in.

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 38, 1972. Pub...

Original Edition Lithograph on wove paper. Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe Siècle, vol. no. 43, 1974. Pub...

Chinatown 8 Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, Signed and Numbered in Pencil Edition of 66/250 Size: 38 x 31 in. (96.52 x 78.74 cm)

Sol Lewitt Benefit Concert (Hand signed by Sol Lewitt, Philip Glass and Meredith Monk), 1978 Offset lithograph 19 1/2 × 21 1/2 inches Limited Edition of 75 Hand signed by Sol Lewitt ...

Chinatown Portfolio 2, Image 6 Chryssa, Greek (1933–2013) Date: circa 1978 Screenprint, signed and numbered in pencil Edition of 150 Size: 40 in. x 30.5 in. (101.6 cm x 77.47 cm)

Alexander Calder McGovern for McGovernment (Signed by BOTH Alexander Calder and George McGovern), 1972 Lithograph on wove paper with deckled edges. Hand signed and Numbered by Calder...

Times Square Fragment XII Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, signed and numbered in pencil Edition of AP 11 Size: 37 in. x 25 in. (93.98 cm x 63.5 cm)

Chinatown 6 Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, Signed and Numbered in Pencil Edition of 66/250 Size: 38 x 31 in. (96.52 x 78.74 cm)

Chinatown 3 Chryssa, Greek (1933–2013) Date: circa 1979 Screenprint, Signed and Numbered in Pencil Edition of 66/250 Size: 38 x 31 in. (96.52 x 78.74 cm)

Barbara HEPWORTH November Green, 1970 screenprint, ed. of 60 30 3/4 x 22 7/8 in. frame: 33 1/2 x 26 in.

Alexander Calder McGovern for McGovernment, 1972 Lithograph on wove paper Pencil signed and numbered 194/200 on the front Frame included In 1972, Alexander Calder was commissioned by...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XVII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 35,5 cm Observations:...

Original Edition Lithograph on wove paper. Edition: 1,500. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe S...

Alexander Calder (American, 1898-1976) Red Sphere on Yellow Ground, c. 1970 Lithograph in colors Edition: 74/150 22 x 30 inches 37.5 x 29.5 inches, framed ...

An Abstract etching by the artist Lebadang. The Minimalist composition uses only green, orange, and black to create a stark contrast of shapes. This piece is signed and numbered in p...

Ibidem is a contemporary artwork realized by Achille Perilli n 1972. Mixed colored lithograph. Hand signed, dated and numbered on the lower margin. Edition of 64/90.  Titled on t...

Artist: Alexander Calder Title: Derriere le Miroir #201 Portfolio: Derriere le Miroir #201 Medium: Lithograph Date: 1973 Edition: Unnumbered Frame Size: 21 1/4" x 17 1/4" Sheet Size:...

Abstract monotype painting by Colorado woman artist Wilma Fiori (1929-2019). Abstract composition in deep jewel tones of green, orange, teal and purple on a black background. Monotype (numbered 1/1) printed on paper, signed by the artist lower right and upper left. Presented in a custom white frame with all archival materials. Provenance: Estate of the artist, Wilma Fiori About the Artist: Wilma Fiori (Wilma Denny) was born in Youngstown Ohio in 1929 and was raised in Great Bend, Kansas. She studied at Loretto Heights College in Denver, Colorado. Fiori graduated with a Bachelor of Fine Arts (BFA) degree in 1952. Two years later, she married Bob Fiori, a fellow student from Lorreto Heights. She remained active as an alumna for the College while raising four children. During this time, she developed an interest in anthropology and, in 1979, Wilma earned a Masters of Arts in Anthropology degree from the University of Denver. Fiori worked as a curatorial assistant to Richard Conn...

Plate 12 From: 10 Origi, 1942 Signed in the block with the artist's initials lower left (printed) From: 10 Origin Not from the First edition 100, published by Allianz-Verlag, Zurich,...

From: Happy Pentagone (6 plates) Signed and numbered in pencil Edition: 100 (37/100) Printer: Lacouriere et Frelaut Imprimeur, Paris Paper: BFK RIVES watermark on some sheets from th...

Agustin Fernandez Midnight Blue - 1979 Print - Yarn, Lithograph on Arches archival paper Paper size 21.75'' x 29.5'' inches Edition: Signed in pencil, dated and marked 8/300 Agustín...

Artist: Donald Judd Title: Untitled (S. 108) Year: 1977-78 Medium: Etching on wove paper Sheet: 30 x 35 in. (76.2 x 88.9 cm.) Edition: 75 plus proofs; signed, numbered and dated in p...

Original Edition Lithograph on wove paper. Edition: 1,500. Inscription: Unsigned and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: From the volume, XXe S...

Title: L-5-1974 Medium: Lithograph Year: 1974 Signed, titled and inscribed by hand Size: 16.4 × 12.5 on 29.8 × 21.8 inches Hans Hartung (21 September 1904 – 7 December 1989) was a ...

Hommage a Gerald Kramer Femme qui Marche is a contemporary artwork realized by David Alfaro Siqueiros in 1971. Mixed colored lithograph. Hand signed on the lower right margin Arti...

Agustin Fernandez Armour - 1979 Print - Lithograph on Arches archival paper Deluxe Edition with Matchsticks Collage Paper size 21.75'' x 29.5'' Edition: Signed in pencil, dated and m...

Barbara Hepworth Forms in a Flurry, 1970 from the 'Opposing Forms' portfolio screenprint, ed. of 50 30 3/4 x 22 7/8 inches

Lithograph on wove paper. Inscription: Unsigned and unnumbered; text on verso, as issued. Good Condition; never framed or matted. Notes: From Derrière le miroir, N° 201, published by...

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...

Agustin Fernandez Armour - 1979 Print - Lithograph on Arches archival paper Paper size 21.75'' x 29.5'' Edition: Signed in pencil, dated and marked 24/300 Agustin Fernandez is a con...

Original Edition Lithograph on wove paper. Edition: 2,000. Inscription: Signed in the plate and unnumbered, as issued. Excellent Condition; never framed or matted. Notes: Published b...

Joan MIRO Composition for Fernand Original lithograph (printed in Mourlot workshop) Printed signature in the plate Unumbered edition On Arches vellum 27.5 x 21 cm (c. 11 x 8 inch) E...