Paper Prints and Multiples

Artist: Jules Engel, Hungarian/American (1909 - 2003) Title: Untitled 3 Year: circa 1970 Medium: Acrylic on Paper Size: 21 x 21 inches

Des Accordeons De Chair Et Le Eire silkscreen limited edition 144/150, pencil signed Size: 42x29.5 framed 50.5x37.x1.5 Theo Tobiasse was born in Israel in 1927 to Lithuanian parents...

Signed lower left, 'Pras Lewchalermwong A.P.' and dated, lower right, November 1976.

Original vintage movie poster for the Australian release of the Japanese science fiction film Godzilla vs. Gigan "The Entire World Gripped By Terror!" (the 12th film in the Godzilla ...

Collotype in colors on paper. Unsigned. Published in 1972. Copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

Jasper Johns (American b.1930) Cross Hatch (Untitled ULAE S.13), 1977 Screenprint on Patapar printing parchment Edition of 3000, unsigned and unnumbered as issued Printed by Simca Pr...

The original exhibition poster from 1977 featuring David Hockney's "Self Portrait with Blue Guitar" at the André Emmerich Gallery in New York is a captivating piece that encapsulates...

Conrad Marca Relli - Composition I Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition: 75 + AP + HC Size: 56 x 76 cm Condition: In very good conditions and n...

DAVID SHRIGLEY - WITNESS MY JOY Date of creation: 2022 Medium: Screen print & varnish on Somerset paper Edition: 125 + 12 AP Size: 75 x 56 cm Condition: Brand new, inside its custom ...

Lithograph on japon nacré paper Numbered and signed lower edge: "XXII / L Calder" This item is in our New York City warehouse and can be viewed by appointment.

Conrad Marca Relli - Composition VIII Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition: 75 + AP + HC Size: 56 x 76 cm Condition: In very good conditions an...

Title: Line Up, from Jasper's Dilemma (Axsom 85) Offset lithograph in colours, on J. Green Paper Edited in 1973 Limited edition of 100 copies signed in pencil by artist , numbered 88...

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

Dario Villalba - UNTITLED 5 Date of creation: 1975 Medium: Lithograph and photolithograph on paper Edition: 75 Size: 95 x 68 cm Condition: In mint conditions and never framed Observa...

Conrad Marca-Relli - Composition VII Date of creation: 1977 Medium: Etching and aquatint on Gvarro paper Edition number: 35/75 Size: 56 x 76 cm Condition: In very good conditions and...

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

In 1975, the Jacques Damase Gallery had the honor of hosting an extraordinary exhibition featuring the iconic works of the legendary Pablo Picasso. This...

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

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

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

Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed 1975 hand signed and numbered

Kinkakuji Rain, woodblock print by Clifton Karhu, framed, green, orange, black hand signed and numbered by the artist 16/100

Shishimai, woodblock print by Clifton Karhu, figurative, red, blue, Japan, frame AP6 Hand signed and numbered by the artist slight smudge on bottom of frame

This colorful and zany piece by Peter Max depicts a sky blue character called the "Cosmic Runner" in mid-sprint across the composition. 14" x 18.5" Screen print About the Artist: ...

Paper Size: 7 x 5.5 inches ( 17.78 x 13.97 cm ) Image Size: 7 x 5.5 inches ( 17.78 x 13.97 cm ) Framed: No Condition: A: Mint Additional Details: Vintage first edition 1979 pro...

ALEX KATZ (1927-Present) Cyanotype on wove paper, signed and numbered in pencil '5/25', published by Graphic studio/U.S.F., Tampa, Florida. Literature: Alex Katz: Prints and Works ...

JOSEF ALBERS (1888 – 1976) "Formulation : Articulation" Portfolio II, Folder 25 Screen-printed geometric composition printed by Ives Stillman, Inc., New Haven, CT. From the set of 12...

Lithograph on Arches wove paper. 75 × 105,8 cm. (29 ½ × 41 ⅝ in.) Signed and dated. One of 96 numbered prints from a total edition of 123. Los Angeles, Gemini G.E.L., 1976 (with the ...

This geometric abstraction is a silkscreen print on linen backed paper.

Sol LeWitt was an iconic American artist whose work helped to establish both Minimalism and Conceptual Art. LeWitt’s practice was based primarily within his own intellect, establishi...

Polnarévolution is a live album of Michel Polnareff released in 1972. The live album in its original edition is sold with the promotional poster of the event. This one makes scandal:...

A very beautiful poster made by Ismail Shammout around 1975 and which unfortunately remains current. The Israeli-Palestinian conflict is the conflict between Palestinians and Israel...

A sublime work made for the OSPAAAL, this Cuban movement created by Fidel Castro, which promotes anti-imperialism and socialism. This beautiful poster was made by Lucio Martinez in ...

Roy Lichtenstein (New York, 1923 – 1997) Still Life with Picasso. From: Hommage à Picasso. 1973. Colour silkscreen on strong vellum. Size: 72 ...

1973-1976 Screenprint in colors, on wove paper 16 3/4 x 13 5/8 in. (42.5 x 34.6 cm) Edition of 90 Signed, dated, and numbered in pencil, lower margin

Hans Hartung - Lithography Farandoles VI Original signed and numbered in pencil From the first edition of the book FARANDOLE by Hans Hartung. Farandole 19, 1971. Edition in 75 copi...

1978 Lithograph in colors, on brown wove paper Sheet: 31 1/2 x 22 1/2 in. Edition of 38 Signed, dated and numbered in pencil, lower margin

1973 Lithograph in colors, on wove paper Sheet: 21 1/10 x 29 7/10 in. Edition of 35 Signed, dated and numbered in pencil, lower margin Unframed, excellent condition

1974 Lithograph in colors, on Arches paper Sheet: 28 x 40 in. Edition of 110 Signed, dated and numbered in pencil, lower margin Unframed, excellent condition

1977 Woodcut in colors with carborundum, on handmade heavy rag paper Sheet: 29 x 35 in. Edition of 110 Signed, dated and numbered in white China marker, lower margin Unframed, excell...

1976 Screenprint in colors, on heavy wove paper Sheet: 30 x 42 in. Edition of 100 Signed, dated and numbered in pencil, lower margin Unframed, very good condition

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

TECHNICAL INFORMATION Ellsworth Kelly Dark Gray and White 1977-1979 Screenprint and collage on handmade paper 29 3/4 x 41 5/8 in. Edition of 41 Pencil Signe...

Colored and pressed paper pulp, the full sheet Sheet: 32 1/4 x 31 1/8 in. (82 x 79.1 cm) Frame: 39 1/8 x 38 1/4 x 1 1/2 in. (99.4 x 97.2 x 3.8 cm) Edition of 22 + 8AP Signed and numb...

Fritz Scholder (1937-2005) "Custer's Last Fight" Lithograph Ed. 54/75 Signed and Numbered Site Size: approx 22 x 30 inches Framed Size: approx. 35 x 41.5 inches Born in Breckenridge, Minnesota, Fritz Scholder became a prominent Indian portrait, figure, and genre painter in Arizona. His father was part Indian, and Fritz Scholder chose to focus his art work on this part of his lineage and to express both an appreciation and disdain for Indian customs, traditions, and daily existence. He studied at the University of Kansas, Wisconsin State University, and with Wayne Thiebaud at Sacramento College in California. He earned an Master of Fine Arts Degree from the University of Arizona. A long-time resident of Scottsdale, Arizona, he has filled a number of artist-in-residence positions including Dartmouth College and the Oklahoma Summer Arts Institute. In his work, he frequently showed the harsh, realistic side of Indians' lives and deaths including the affects of alcohol and other dissipations, but some of his depictions are humorous such as Indians on horseback carrying umbrellas. His brush-work is generally swift, and the tone often sombre and surreal. A major influence on his work was the contemporary British artist, Francis Bacon, from whom Scholder adapted ironic distortions into his canvases. In Scottsdale, he lived in an adobe-walled oasis of palm trees and oleander, amid skulls and skeletons. In the garden, several of Mr. Scholder's sculptures feature skull-like heads. In the library, an 18th-century skull engraved with witchcraft symbols shared shelf space with books printed before 1500. And the porch had been converted into a skull room, complete with Mexican Day of the Dead...

Patrick Procktor Title: Northern Lass Year: 1970 Medium: Lithograph on Arches paper Edition: 43/65 Signed in Pencil Size: 26 x 20 inches Publication: From portfolio Europaische Graph...

Patrick Procktor Title: Northern Lass Year: 1970 Medium: Lithograph on Japanese paper Edition: XXXV/XXXV Signed in Pencil Size: 26 x 20 inches Publication: From portfolio Europaische...

Derrick Greaves Title: Vase and Falling Petal Year: 1971 Medium: Lithograph on BFK Rives Edition: 65 Signed in Pencil Size: 20 x 26 inches Publication: From portfolio Europaische Graphik VII, Ed. A, published by Ketterer Derrick Greaves is one of the most eminent British painters of the last half century. Greaves initially gained acclaim in the 1950s, when he represented Britain at the Venice Biennale along with the other 'Kitchen-Sink' painters with whom he was associated: John Bratby...

Derrick Greaves Title: Vase and Falling Petal Year: 1971 Medium: Lithograph on BFK Japanese paper Edition: Edition A, XXXV/XXXV Signed in Pencil Size: 20 x 26 inches Publication: From portfolio Europaische Graphik VII, Ed. A, published by Ketterer Derrick Greaves is one of the most eminent British painters of the last half century. Greaves initially gained acclaim in the 1950s, when he represented Britain at the Venice Biennale along with the other 'Kitchen-Sink' painters with whom he was associated: John Bratby...

Serigraph in colors on paper. Hand signed and numbered by the artist. From the edition of 150. Sheet size 20 x 26.25 inches. Image size 19 x 23.25 inches. Frame size approx 27 x...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Eagle’s Nest" is Plate Number 37, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds provides the following quote from the artist regarding this print: “The structure on the right is an architectural symbol for an eagle. It is also like a machine that is igniting the shape on the left. Below, the egg that is coming out of the chute is a child which will evolve into another architectural eagle...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintin...