1960s Prints and Multiples

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...

Edward Avedisian (1936-2007) Green Gold, 1969 Lithograph in color on Arches wove paper. Hand signed, dated and numbered in pencil. Edition 100 Dimensions: 22.25 inches X 30.25 inch...

Salvador Dali - Nude, Horse and Death - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Robert SAVARY Paris : Small Square in Montmartre, 1969 Original lithograph (Mourlot workshop) Handsigned in pencil On Arches vellum 37 x 29 cm (c. 16 x 12 in) Excellent condition

Alechinsky/Reinhoud: Alechinsky & Reinhoud Dos Artistas Belgas, published in 1964 by Imprenta Anzilotti in Buenos Aires, is a softcover edition with a protective dust jacket. This 20...

Filius Prodigus is a Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967 and 1969. Signed...

Artist: Pablo Picasso Title: La Pique (I) Portfolio: A Los Toros Avec Picasso Medium: Transfer lithograph Date: 1961 Edition: Unnumbered Frame Size: 18 1/4" x 20 3/4" Sheet Size: 9 1...

Myril Adler "Equatorial Curtain" c.1960s Intaglio etching collage, ink on paper 5.75"x2.5" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vite...

Sam Francis, American (1923 - 1994) - Centre National d'Art Contemporain, Year: 1969, Medium: Poster, Size: 41 x 26 in. (104.14 x 66.04 cm)

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, A Los Toros Avec Picasso, 1961. Published by André Sauret, éditeur, Paris; prin...

Georges BRAQUE Bouquet of flowers, 1961 Original lithograph in six colors (Mourlot workshop) Printed signature in the plate On vellum 34 x 26 cm (c. 13 x 10 inch) REFERENCE : Catal...

Phototype on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the volume, La Fleur de Barbe, 1960. Published by Jean Dubu...

Vincent Longo Klee Study, 1964 Monotype Pencil signed and dated 1964 lower right; pencil titled "Klee Study" lower left 15 1/2 × 5 1/2 inches Unique Unframed This is an exquisite and...

Cherub Super Limen Domus is Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967 and 1969. ...

This original first-edition exhibition poster was created for Miriam Schapiro’s 1967 show Silver Windows at the prestigious André Emmerich Gallery. Schapiro, a key figure in the femi...

This colorful abstract original lithograph was printed in 1967 at the Atelier Mourlot in NYC. When The Mourlot Studio decided to open a branch in New York City, after a successful ex...

Salvador Dali (1904-1989) - The Inferno, Canto 13 - La Fôret des suicidés Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher...

This radiant purple pink poster was designed by Jim Dine for a production of Gilbert and Sullivan at New York City Center in 1968. The stripe down...

Maurice Brianchon Saint-Jean-de-Luz : La Plage 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Edition: 2,000 Annotated verso Unsigned as issued Publisher: Mourlot,...

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...

Lucien COUTAUD Surrealist Character with a Fish, 1966 Original lithograph Handsigned in pencil On Rives vellum 37 x 28 cm (c. 15 x 11 inch) Excellent condition

Woodcut on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, XXe siècle, décembre 1966, Cahiers d'Art publiés sous ...

Man Ray (Emmanuel Radnitsky, aka) Surrealist Flowers, Hélène, 1969 Handsigned original etching Also printed signature in the plate On vellum, 23 x...

Untitled Signed in pencil lower right (see photo) Edition: 25 (9/25) (see photo) Engraving, drypoint & carborundum Printed by the artist Condition: Excellent, slight residue on rever...

Marc Chagall (1887-1985) - Soleil aux amoureux Etching from 1968. Trial proof - unique work. Dimensions of sheet: 51 x 34 cm Dimensions in frame: 63.2 x 53.2 cm Publisher: Maegh...

"Jungle" is an important, rare color lithograph signed by Carol Summers from the early years of his production. The image offers a landscape of a dark jungle, printed mostly in black ink. In the center, a blue pool of water is shaded by two trees. Summers' technique in this print renders a painterly quality to the image: the grasses and leaves of the scene are all created with playful, energetic swiping motions much like watercolor paint. This technique and the use of fields of color predict the style Summers would adopt in the coming decades, making this an important early work. 30 x 22 inches, artwork Numbered 14 of the edition of 27 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Sku: EF9863 Artist: Christian Berard Title: Galerie Lucie Weill Year: 1965 Signed: No Medium: Lithograph Paper Size: 25 x 19 inches ( 63.5 x 48.26 cm ) Imag...

Marc CHAGALL Lovers with a Rooster Lithograph and stencil (Jacomet workshop) Printed signature in the plate Numbered /500 On vellum 65 x 54 cm (c. 26 x 21...

Losias Sepultus in Mausoleo Patrum ( Josiah buried in the Mausoleum of his Father ) is a colored lithograph from the original gouache on heavy rag paper from Salvador Dali’...

Facsimile on paper, 1964 Printer : Daniel Jacomet (Paris) Dedication "For Alain Mazo, amicalement" and printed signature LCD4596

Dante Alighieri and Matelda -from the Series "The Divine Comedy" - Song 29 - Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine ...

Artist: Richard Lindner, German/American (1901 - 1978) Title: Shoot Year: 1969 Medium: Lithograph, signed and numbered in pencil Edition: 158/175 Size: 25 in. x 20 in. (63.5 cm x 50....

Arman Boom Boom (unique variation from New York International Portfolio), 1965 Screenprint with pencil additions. Pencil signed and numbered 12/225 on the front Published by Chiron ...

Sister Mary Corita Kent Passion is the Very Fact of God in Man screenprint on Pellon rice paper 30 x40" edition of 50 1963 signed *Slight condition issues due to aging.

Conclusion de l'ecclésiaste is an artwork realized by March Chagall, 1960s. Lithograph on brown-toned paper, no signature. Lithograph on both sheets. Edition of 6500 unsigned lith...

Lamy (Pierre Lambert, called) Stone Woman, 1972 Original lithograph Handsigned in pencil On Rives vellum 37 x 28 cm (c. 15 x 11 inch) Excellent condition

Alexander Calder Lithograph c. 1973 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. From: De...

Desert Icon II Screen print, c. 1968 Signed, titled and numbered in pencil (see photos) Edition 100 (17/100) Printed by the artist This image is the most elaborate of three color var...

Knight and Horse is an original etching realized by Marino Marini in 1963. Good conditions. The artwork is depicted through strong strokes in a well-balanced composition.

The Two Crowns from the Series "The Divine Comedy" - Purgatory plate 26 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dan...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 175, 1968. Published by Aimé Maeght, Éditeur, Paris; pr...

Jacques VILLON Reading Man, 1962 Original lithograph (Mourlot workshop) Printed signature in the plate On tinted vellum 32 x 24 cm (c. 13 x 10 in) Excellent condition

Salvador Dali Le Cirque Le Fou (Clown), 1965 Etching Hand Signed lower right Edition AP lower left Image size 36 x 52 cm Sheet size 52 x 67 cm Publisher: Jean Schneider, Basel/Berggr...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

Exhibition poster after Max ERNST featuring an image of playing cards HIgh-quality lithograph printed in Mourlot workshop in 1964 Created for the exhibition "Le Surréalisme, Sources...

Portrait After Raphael is an etching realized by Nicholas Cochin in 1755. Good conditions. Signed in plate. The artwork is depicted through confident strokes. The etching was rea...

Myril Adler Untitled c.1960s Collagraph ink on paper 10"x8.25" unframed Estate stamp on reverse Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (now Belarus), and imm...

Medium: original lithograph. Printed in Paris in 1967 by Mourlot Freres for a now scarce exhibition catalogue. Printed on Centaure wove paper; the total sheet measures 10 x 7 3/8 inc...

Antonio Frasconi created the color woodcut entitled “Alhambra XII” in 1963. This piece is signed titled, and dated in pencil. The edition is 12, and paper size is 18 x 24 inches. “...

"Night Reflections". Screen printing on paper, edited in 1968. Limited edition of 100 copies , numbered as 60/100 in lower left corner.
 Hand-signed by artist in pencil in the lower...

ARTIST: Salvador Dali TITLE: Faust Cavalier et la Mort MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 44/95 MEASUREMENTS: 11.4" x 15.3" YEAR: 1969 FRAMED: Yes CONDITION...

Gerry Mulligan, Baritone Sax - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Gerry Mulligan sits on a stool holding his ba...

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...

Le 1 is a contemporary modern artwork realized in 1968 by Erté (Romain de Tirtoff). Mixed colored lithograph on paper. The artwork is from the Series "Les Chiffres". Hand signed o...

Alexander CALDER (after) Black Shadow, 1969 Lithograph poster Made for the exhibition of Alexander Calder at Maeght Fondation in 1969 Printer : Arte Paris Editor : Maeght 70 x 49.8 ...

Scarce and coveted 1960s Pop Art print: Robert Rauschenberg Test Stone #6 (Blue Cloud) from the Booster and 7 Studies Series (Foster, 45, G:33), 1967 Lithograph on domestic etching p...

PABLO PICASSO (1881-1973) Yan bandeau noir (A. R. 514) Terre de faïence pitcher, 1963, numbered 122/300, incised 'Edition Picasso', with the Edition Picasso and Madoura stamps.

Artist: Andy Warhol Title: Washington Monument Medium: Screenprint on wallpaper Date: 1974 Edition: Unnumbered Sheet Size: 44" x 29 1/2" Framed Size: 50 5/8" x 36 1/8" Signature: Uns...

Mane-Katz (1894-1962) Original Lithograph published by Andre Sauret, Monte Carlo, 1966, printed in France, by Mourlot. The ouvrage sheet is not included. this is from a limited editi...

Lithograph on vélin paper. Paper Size: 12.4 x 9.65 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Rivière, Yves. Vieira Da Silva Les Estampes...