1960s Prints and Multiples

Lithograph on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 121-122, published by Derrière le miroir, Paris; printed by Galerie...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

- dated in the plate 11.1.64 - original lithograph as frontispiece of the monograph Picasso. Lithograph - edition 3000 - cat. raisonné Mourlot 1970; cat. raisonné Bloch 1155

Lithograph on wove paper. Inscription: Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, XXe Siècle, n°25, 1965. Published by Editio...

1960s Antoni Tàpies Lithographic cover to Derrière le miroir: Lithographic publication cover; circa 1968. 11 x 15 inches. Good overall vintage condition as pictured. Unsigned from a...

Medium: original lithograph (in two sections). Printed in 1964 and published by Eberhard Kornfeld for the 1 Cent Life portfolio in an edition of 2000. Size: 16 1/4 x 22 3/4 inches (4...

ARTIST: Salvador Dali TITLE: The Mythology The Milky Way MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Pierre Argillet, Paris EDITION NUMBER: 123/150 MEASUREMENTS: 30" x 18"...

The Child Plants an Oak Tree in the Garden Woodcut, 1961 Unsigned (as issued) From: The "Way" of the Woodcut, three woodcuts, 1961 Publisher: Pratt Adlib Press, Brooklyn, New York,19...

Medium: lithograph (after the painting). Printed in 1962 and published in London by the Arthur Tooth and Sons Gallery for a rare exhibition catalogue. Size: 9 x 6 3/4 inches (228 x 1...

Robert Indiana, a major force in the Pop Art movement described himself as "a painter of signs." Four Sixes, as this screenprint is called clearly captures his brilliant use of color...

Medium: original lithograph. Printed in 1968 for Derriere le Miroir (issue number 171) and published in Paris by Maeght. Size: 15 x 10 5/8 inches (377 x 268 mm). There is printed tex...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

He grew up in Detroit where he was expelled from high school because he decided to paint some unsolicited images on the wall of a freshly white-painted restaurant and hangout across ...

- dated in the plate: 4.2.63 - original lithograph as book cover of the monograph "Picasso. Lithograph" - consists of spine, front and back cover - edition 3000 - cat. raisonné Mourl...

Medium: lithograph (after the painting). Printed in 1967 for the art revue Derriere le Miroir (issue number 164-165 -- L'Oiseau Solaire, L'Oiseau Lunaire, Etincelles) and published i...

Male Figurative Study - Original Lithograph on Paper Original lithograph on paper depicting a male nude in pose. The male figure is depicted sitting, his arm across his leg as he ga...

Alexander Calder (American, 1898-1976) “Le Noble Chevalier, 1960” Lithograph in Colors on Velin de Rives paper Sheet Size: 11” x 16” (27.94 x 40.64 cm) Printed by Maeght Editeur, Par...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

PABLO PICASSO (1881-1973) Personnages et cavalier' (A. R. 540) Terre de faïence plaque, 1968, numbered 178/500, with the workshop numbering, partially painted, with the Empreinte ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Hand Signed and numbered. Edition of 150 pieces. Bloch 1139. Excellent condition.

Medium: lithograph (after the painting). Printed in 1962 and published in London by the Arthur Tooth and Sons Gallery for a rare exhibition catalogue. Size: 9 x 6 3/4 inches (228 x 1...

Cover for DLM No. 173 Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), called DLM From: DLM No. 173, published October 1968, whic...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Hans Bellmer, 'Blue Eyes', engraving and drypoint, edition 99, 1971. Flahutez 89. Signed and numbered '74/99' in pencil. A fine impression, on Arches cream wove paper; the full sheet...

Marc Chagall "Paris de ma fenêtre" 1969-1970 Lithograph in colors on Arches paper 32.5 x 23.75 inches (image size) 39.5 x 27.5 inches (sheet size) ​​​​​​​Edition of 50 + 25 AP Signe...

Pablo Picasso Hommage à René Char, 1969 Color lithograph on Arches wove paper by Henri Deschamps, Paris Signed in the plate Image size: 63.6 x 44.7 cm Sheet size: 75.7 x 52 cm Prin...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Original Limited Edition Wood Engraving in Colors on Rives BFK paper. Edition: 4765, French; 3188, Italian. Paper Size: 13 x 10.25 inches. Inscription: Unsigned and unnumbered, as...

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Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

The original poster for "Ski soviétique" from 1964 reflects the era's emphasis on promoting Soviet achievements and lifestyle. Produced during the Cold War period, this poster aimed ...

The original Soviet poster from 1968, "American Imperialism is a World Gendarme (War, Racism, Provocation...)," stands as a vivid example of Soviet propaganda agitation. This poster ...

Medium: original lithograph. Executed for Derriere le Miroir (issue number 171) in 1968, and published in Paris by Maeght. Sheet size: 15 x 10 1/2 inches (378 x 267 mm). There is pri...

Medium: lithograph (after the painting). Printed in 1966 for Derriere le Miroir (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon ...

Vintage French lithograph of a large abstract bird in flight over a small gathering of onlookers below by artist Paul Guiramand, 1965. Original a...

Antoni Tàpies Lithograph c. 1967 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issued...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Original Handsigned Etching by Salvador Dali Hand-Enhanced with Gold painting Title: Merry Christmas Signed in pencil Edition: EA Dimensions: 23 x 17.5 cm Publisher : Phyllis Lucas Gallery...

SALE ONE WEEK ONLY "As I opened fire" is a lithograph triptych by Roy Lichtenstein whose provenance is printed on verso: Coll. Stedelijk Museum Amsterdam. Editions were copyrighted by the Stedelijk Museum Amsterdam and corrected with the original and printed in the Netherlands. Each piece measures: 25 1/8" h x 20 5/8" w. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching atRutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Pierre Soulages: Peintres d'aujourd'hui, 1962. Published ...

Exhibition Poster Galerie Gerald Cramer is a contemporary artwork realized by Joan Mirò. Mixed colored lithograph. The poster was realized in occasion of the exhibition of the arti...

Original Edition Lithograph on wove paper. Inscription: Signed in the plate and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, XXe Siècle, n°2...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Salvador Dali Don Quichotte et Les Moulins a Vent, 1969 Dry point etching in colours on BFK Rives wove Hand signed and numbered 146 / 200 in pencil Sheet size 39.5 x 29.5 cm Image s...

Medium: pochoir (after the oil on paper). Issued in 1967 in an edition of 1200 for the rare exhibition catalogue "Oiseau solaire, oiseau lunaire, etincelles", published by the Pierre...

Signed in marker by artist Edition 278/300 Limited edition poster Framed in metal with plexiglass

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Prints from the Mourlot Press, 1964. Publishe...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Original Edition Lithograph on wove paper. Signed in the plate and unnumbered, as issued. Good Condition. Notes: From the volume, Picasso-Aragon Shakespeare, 1965. Published by Harry...

Henry Pearson FACE, from Portfolio 9, 1964 Color lithograph with deckled edges Signed, titled, and numbered 84/100 in graphite pencil on the front; with publishers' blind stamp 17 1/2 × 22 1/10 inches Publisher Irwin Hollander, with blindstamp Hand Signed and Numbered 84/100 with Irwin Hollander (printer) Blindstamp Unframed Henry Pearson's iconic Pop Art lithograph "Face" from the mid-Sixties is in the permanent Collection of the Museum of Modern Art as well as other public institutions. This Classic Sixties psychedelic designed Op Art lithograph was created as part of the legendary 'Portfolio 9' in 1967 - one of the most influential eras in 20th century art. It was housed in a gray cloth-colored box with maroon paper inner panels and a large maroon "9" designed by Richard Lindner on the cover. Portfolio 9 featured nine of the most important artists of the era, representative of the three major trends: Pop Art, Minimalism and Abstract Expressionism: Roy Lichtenstein, Saul Steinberg, Richard Lindner, Robert Motherwell, Henry Pearson, Louise Nevelson, Sam Francis, Willem de Kooning- and Ellsworth Kelly. The Introduction to the portfolio was written by Una E. Johnson, Curator of Prints & Drawings, The Brooklyn Museum. Johnson wrote in 1967 for the colophon page: "The artists were selected to demonstrate the great diversity and character of lithography in the United States today... the dialogue of diverse forms and many faceted idioms that compose this graphic journal mirror the eloquence and delight the strengths and caprices of a period. Furthermore, they reflect in fine measure the creative achievements of artists attuned to their time." The lithograph offered here has superb provenance: it comes directly from 'Portfolio 9', numbered 84/100. This is the very first time since 1967 that this hand signed & numbered print will be separated from the original portfolio presentation box. According to the description of this print in the catalogue raisonne, "Organized as a celebration of Irwin Hollander's collaboration with American artists working in the medium of lithography, the Portfolio 9 is a compendium of images by nine of Hollander's artist collaborators. Henry Pearson Biography: Henry Pearson was born in Kinston, North Carolina in 1914. He studied art at the University of North Carolina where he received his B. A. and later at Yale University where he received an M. F. A. Pearson spent over eleven years in the army during and after WWII. On one tour of duty in Japan he was assigned to interpret topographical maps due to his past training in Theatrical Set Design. He returned to Japan on another tour after the war in order to immerse himself more fully in the culture. Pearson returned to the United States in 1953 and enrolled at the Art Students League in New York where he studied with Reginald Marsh. The Op-Art Movement was beginning to gain popularity and Pearson...