1960s Figurative Prints

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Lettre à mon pei...

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...

A very good impression of this early color offset lithograph on white wove paper. Signed, dated and numbered 8/150 in felt-tip pen and black ink by Rauschenberg...

Medium: Lithograph on vélin d'Arches paper Year: 1968 Paper Size: 26 x 20 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Roger de la Fresnay...

Leonor Fini - Dressed-up - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsig...

Jacqueline Kennedy I, from 11 Pop Artists I. Screenprint in silver, on wove paper. Artist's stamped signature on the reverse and numbered. From the edition of 200. Published by O...

This poster for the 1968 film Speedway is an energetic and playful work of graphic design. The poster is dominated by vibrant magenta and yellow, making the image of Elvis Presley an...

Marc CHAGALL Circus - Revolution, 1963 Lithograph after the painting, engraved by Charles Sorlier under the supervision of Marc Chagall Printed in Atelier Mourlot Plate signed (prin...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Original Lithograph by Picasso Atelier Mourlot. Paper: Vélin. Dimensions : 9 5/8 x 12 7/16 inches Bloch 1017; Cramer 113; Mourlot 350

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

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 ...

Unknown Artist Feed Everyone, ca. 1969 Offset lithograph poster Frame included: held in original vintage metal frame Measurements: Framed 27.5 inches vertical by 16 inches vertical b...

Vintage offset poster realized in occasinoe of Picasso's Exhibition at Galerie Louise Leiris in 1962. Very good condition.

Lithograph and stencil with gouache and pastel inks on vélin de Rives paper, archivally hinged on vélin de Rives backing sheet, as issued. Inscription: signed in the plate and unnumb...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Pulled from the "L'Atelier Mourlot" exhibition catalog, published by The Redfern Gallery, London, 1965 By Joan Miró Joan Miró was a pioneering Spanish artist celebrated for his whi...

This is a vintage poster titled "Realisation de la Ligue de la Croix-Rouge, Geneva," commemorating one hundred years of the Red Cross from 1863 to 1963. Due to its folds, the poster ...

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 ...

Joe Eula, vintage original The Supremes promo poster: Among Eula's most famous illustrations, this fashionable and soulful work was published in 1965 to publicize the legendary Motow...

Lithograph on vélin de Lana paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, tête edition, Consacré a Steinb...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Keresan Dancers Etching & drypoint, 1962 Signed lower right (see photo) Inscribed lower left: "Artist's Proof Keresan Dancers" Depicts Keresan speaking peoples at Sam Felipe Pueblo Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico. Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Derrière le miroir, N° 155, 1965. Publ...

Maurice UTRILLO Montmartre : Sacre Coeur Church and Moulin de la Galette under the Snow Lithograph enhanced with gouache and watercolor pochoir Printed signature in the plate On Ar...

Salvador Dali's Aliyah, Convenant: Eternal Circumcision is from the Aliyah, Rebirth of Israel Suite which was created by Salvador Dali for the 20th anniversary of the proclamation...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 155, 1965. Published by Aimé Maeght, Éditeu...

Lithograph on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Taureaux, Lithographies de Jean Cocteau, 1965. ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Derrière le miroir, N° 139-140, 1963. Published by Aimé Maeght, Éd...

Lithograph on vélin chiffon de Rives paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Réflexions Simples Sur Le Corps, Ayant Inspiré Des Lithographie...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Salvador Dali - Cut Cucumber - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

ARTIST: Salvador Dali TITLE: Les Metamorphoses Erotiques Red Portfolio DESCRIPTION: First edition printed in a limited edition of 300. Large quarto in ff. under a folded cover a...

Lithograph on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Les Peintres mes amis, 1965. Published by Éditions d'art Les Heures Cla...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the folio, Suites nº8, Rencontres, 1964. Published...

The Absolute Real is a lithograph realized by Man Ray in 1964. Hand-singed in pencil by the Artist. Lithograph in Red Ink, 1964. Published by Schwarz, the lithograph is part of th...

Ahasuerus sends Vasthi away  is a an artwork from the Series "The Bible", by Marc Chagall in 1960. Mixed colored lithograph on brown-toned paper, no signature. Edition of 6500 unsi...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From the volume, Derrière le miroir, N° 139-140, 1963. ...

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...

James Rosenquist Somewhere to Light, WACO, Texas 1966, from the New York International Portfolio Lithograph on wove paper Pencil signed and numbered 112/225 on the front Catalogue Ra...

Robert Indiana Decade: Autoportrait, 1969 (Sheehan, 78), 1973 Color lithograph on off white wove paper Signed and numbered 84/125 in pencil on the front Frame included: This work is...

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...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Performing in the circus is an original artwork realized in the 1960s by Marc Chagall. Mixed colored lithograph. The artwork represents a typical compostion in the Chagall style.

Walasse Ting, Chinese/American (1929 - 2010) - 1¢ Life, Year: 1964, Medium: Complete unbound illustrated book with sixty-two lithographs and reproductions, dedicated, signed and...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

Silkscreen on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the album, Numbers, 1968. Published by the Edition Domberger, Stuttgart, and G...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: from the folio, Regards sur Paris, 1963. Publi...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas paper, spécialement filigrané pour cette édition. Unsigned and unnumbered, as issued. Good condition. Notes: From ...

Jesus Scourged, 1967 is a colored lithograph from the original gouache on heavy rag paper from Salvador Dali’s five volume Biblia Sacra Suite published in Rome by Rizzoli , 1...

Original 1960s fashion design from a Northern Italian fashion house. Sketched and coloured by hand with a pencil sketch of the reverse. The name and description of the outfit is type...

Lithograph on vélin pur Chiffon Moulin à papier Richard de Bas paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Tir à l'arc mis en lu...

Lithograph and stencil on vélin paper mounted on backing museum board, as issued. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Vuillard, Douze Pastels P...

Lithograph on Arches wove paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Pablo Picasso, Toros y Toreros, 1961. Published by aux Éditions Cercle d'...

Color lithograph realized by Marc Chagall in 1960 to illustrate "The Bible".  Edition of 6500, published by Tériade in no. 33 and 34 of the Art Magazine Verve. Printed by Mourlot a...

Etching on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...