1960s Prints and Multiples

Original “Switzerland” vintage travel poster. Archival linen backed in excellent condition, Grade A, ready to frame. The images shown...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with trifold, as issued. Notes: From Derrière le miroir, N° 162. Published by Aimé Maeght, Éditeur, P...

R.B. Kitaj Hail thee who play (Michael McClure), 1969 Silkscreen, photo-silkscreen and collage on black textured paper 33 × 13 9/10 inches Edition 35/70 Pencil signed and numbered on...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition; with centerfold, as issued. Notes: From Derrière le miroir, N° 141, published by Aimé Maeg...

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...

James Rosenquist was commissioned by the Paris Review to create this playful and colorful print. It is signed, dated and numbered from the edition of 150. Paris Review James Rosenq...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Museo Picasso. Palacio Aguilar.', 1966 Four-color offset printing on paper 30 x 21.5 in. (76 x 54.5 cm.) Unframed Ref: PIC2001-P010 Conservatio...

Morris Cox (1903-1998) A Feminity of Nudes, 1979-80 Screenprint 11.0 x 8.0 cm 25.0 x 21.0 cm Provenance: Morris Cox Archive Morris Cox (1903-1998) Was a writer, poet, printmaker, ...

Artist: Le Corbusier Medium: Lithograph, 1960 Dimensions: 17.25 x 22.5 in, 43.8 x 57.2 cm

Artist: Marc Chagall (after) Title: Avenue De La Victoire at Nice Portfolio: Nice and the Cote d'Azur Medium: Lithograph Date: 1967 Edition: Unsigned and unnumbered proof (aside from...

After PABLO PICASSO (1881-1973) Maternity (Grande Maternité) 1963 Offset Lithograph on Paper Signed and Dated Handsigned in Pencil Numbered: 73/200 9...

Medium: original etching. This richly inked impression was printed in 1960 at the atelier Robbe in an edition of 200 on Marais paper for the rare "Eloge de Andre Lhote" and published...

A very good, richly-inked impression of this Drypoint and aquatint printed in gray and black on cream wove paper. Signed, dated and numbered 20/150 by Dali. Printed by Robbe, Paris. ...

Myril Adler "Hierophany" c.1960s Collagraph ink on paper 2"x2" ash wood gallery frame 9.5"x9.5 Signed and titled in pencil Myril Adler, was born on September 22, 1920 in Vitebsk, R...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good Condition, with centerfold, as issued. Notes: From folio, Miró 1959-1960, 1961. Published by Pierre M...

Masami Iwata, 'Flowers and Ko-Imari', color woodblock print, c. 1960, edition 250. Signed, and with the artist’s seal, lower right. A superb, painterly impression, with fresh colors,...

Medium: lithograph (after the watercolor). Charles Lapicque was one of the artists who contributed compositions to Marcelle Oury's "Lettre à mon peintre" in homage to Raoul Dufy. Thi...

'Melancholic Muses III', one of a poignant set of six signed artist proof lithographs by the celebrated Spanish artist from Barcelona, Vicenç Caraltó (circa 1960s). This collection o...

Mario Yrisarry Stern - 1967 Print 29½" x 23½" inches Edition: signed and numbered in pencil 3/100 Biography Birth place: Manila, Philippines Addresses: NYC Profession: Painter ...

Artist: Gene Davis Title: Zebra Portfolio: Series II Medium: Screenprint on canvas laminated to board Date: 1969 Edition: 110/150 Frame Size: 30 1/2" x 36 1/2" Sheet Size: 24" x 30 1...

Wifredo Lam Bird and Spirit Figure, 1967 Original lithograph Hand signed in pencil Numbered / 300 On Arches vellum 50 x 65 cm (c. 20 x 26 in) REFERENCE : Catalog raisonne Tonneau...

Bernard Buffet (1928–1999, France) Portfolio: La Révolution Française 1789, 1977 Bernard Buffet’s La Révolution Française 1789 (1977) is a striking portfolio of ten color lithograph...

Marc Chagall Original Lithograph 1969 From the revue XXe Siecle, edition of 12,000 Unsigned, as issued Dimensions: 32 x 24 Condition : Excellent Reference: Mourlot 572 Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Etching and drypoint realized to illustrate Pierre Ronsard's "Les Amours de Cassandre". Published by Argillet, Paris, in 1968. Edition of 299 pieces. One of 165 specimen on Arches ...

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...

Artist: Josef Albers (German-American, 1888-1976) Title: "Arrived" Portfolio: Soft Edge - Hard Edge *Signed and dated by Albers in pencil lower right ...

Artist: Bernard Buffet, French (1928 - 1999) Title: Canal St. Martin Year: 1968 Medium: Lithograph, signed in the plate Size: 19 x 23 in. (48.26 x 58.42 cm) Frame Size: 25 x 28.5 inc...

Image dimensions: 41 x 30.2 cm. Helias is an original folding leaflet, with an original color lithograph on paper, realized in 1963 in occasion of the exhibition hold at the Parisia...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of ‘The boy who left home to learn fear’. Hockney chose this story for its ...

Medium: original lithograph. Printed in 1966 for the art revue Derriere le Miroir (issue number 160) and published in Paris by Maeght. Size: 15 x 22 inches (378 x 557 mm). Published ...

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...

Theo Tobiasse (1927 - 2012 ) Title Des Hommes Arrivent du Fond de leur Passe Lithograph 1968 edition E. A. ( artist proof ) size 17.50 x 23.50 condition good Des Hommes Arriv...

Juergen Kuhl Flowers Year: 2018 Color silkscreen Size: 35.1 × 35.1 inches COA provided *mounted on foam core board About Jurgen Kuhl: In Cologne, the city of art in Germany, paint...

Lithograph on vélin paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Le Plafond de l'Opéra de Paris, par Marc Chagall, 1965. Published ...

Original Lithograph - Pablo Picasso Title: The Painter and His Model This is unsigned and unnumbered, as issued From the book/portfolio "Regards sur Paris" Published by André Saure...

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

After Salvador DALI (1904-1969) Butterfly suite : Normandy, 1969 Lithograph and heliogravure Printed signature in the plate bottom right Tall model, from the 700 unumbered edition P...

ARTIST: Salvador Dali TITLE: Triumph of The Sea MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Sidney Lucas, New York EDITION NUMBER: 12...

“Are We Next?” was a personal project for Wes Wilson that he designed in 1965. Wilson stated in an interview with collectors weekly that “It was a symbolic ...

Offset lithograph on white wove paper, Edited in 1965 Limited edition , signed in pencil by artist in lower right corner paper size: 69 x 51.5 cm framed size: 72.5 x 55.5 cm good...

Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Details: C...

This surreal etching portrait of Dorian Gray by Jim Dine in blue ink features the literary protagonist dressed in a white suit. His face is obscured by a mass of hair, tangles of which seem to grow from the sleeves, pant legs, and from beneath the jacket. Dine's notes are written on the image: at his feet reading "WHITE BOOTS" and "White Vinyl Suit" alongside the jacket. On the left edge of the image handwritten text reads "DORIAN GRAY AT OPIUM DEN". In Oscar Wilde's novel Dorian Gray keeps opium in an ornate box in his home, and frequents sites of consumption on the East side of London: “There were opium dens where one could buy oblivion, dens of horror where the memory of old sins could be destroyed by the madness of sins that were new”. An opium den is where Sybil's brother James discovers Dorian. The brother attempts to capture the man he believes is responsible for the death of his sister. Dorian flees to his home, ultimately slashing the portrait that has kept him young for so long. Etching by Jim Dine from one of his most important artist’s books – completely designed and illustrated by Dine. Study for the Rings on Dorian Gray’s Hand from “The Picture of Dorian Gray...

Artist: Salvador Dali Title: Inferno: Canto 20 Portfolio: The Divine Comedy: Inferno Medium: Woodblock engraving Year: 1963 Edition: 4765 Framed Size: 19 1/4" x 16 3/4" Sheet Size: 1...

Artist: Mel Ramos Title: Tiger Girl Portfolio: 1¢ Life Medium: Lithograph Year: 1964 Edition: 2000 Image Size: 16.25 in x 11.75 in Sold Unframed

Salvador Dali Dionysus, 1967 Colour etching and aquatint Hand signed lower right Numbered 52/300 lower left Sheet size: 76 x 56 cm Image size 36 x 48 cm. Reference Michler/Löpsinger ...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, Picasso, Vingt-Neuf Portraits Imaginaires, 1969. Published by Éditions Cerc...

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...

Medium: lithograph (after the watercolor). Printed in 1965 at the Mourlot Freres atelier and published by the Hirschl-Adler Gallery for their 1965 Raoul Dufy exhibition. Sheet size: ...

Josef Albers (1888-1976) is impressively affiliated with numerous movements that have defined art history in the 20th century. Art Historians credit Albers for fusing elements of Ame...

Louise August (American) "Seated Figure", Abstract Figurative Lithograph signed and Titled in both Ink and Pencil, 20 x 25.50 (Image: 18 x 13.50), Mid-20...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Guy Hamilton´s movie "James Bond 007 - Live and let die", UK 1973. Actors: Roger Moore and Jane Saymour, George Lazenby Keywords: James Bond, 007, act...

Lithograph on vélin d'Arches Arjomari paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Lettre à mon peintre Raoul Dufy, 1965. Published by Librairie ...

Medium: pochoir (after the mixed media collage). Printed in Paris at the Daniel Jacomet atelier and published in 1960 by the Berggruen Gallery. Image size: 5 x 3 3/4 inches (125 x 97...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Dent Prompte, Dix poèmes inédits illustrés par Max Ernst, ...

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 Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

Salvador Dali - John Kennedy - Original Handsigned Etching Dimensions: 38 x 28 cm 1968 Signed in pencil EA in Sanguine Jean Schneider, Basel References : ...