1960s Prints and Multiples

Mark Tobey, American (1890 -1976) - Leaves, Year: 1965, Medium: Lithograph, signed in pencil lower right, and numbered on cover page in ink, Edition: 372/380, Image Size: 6.25 x ...

Medium: original lithograph. Catalogue reference: Mourlot 343. Printed in 1963 for Derriere le Miroir (issue number 139-140 devoted to Miro and Artigas) and published in Paris by the...

Medium: original lithograph. Printed in Paris in 1965 at the Mourlot Frères atelier and published by the Pierre Matisse Gallery in an edition of 1200 for the "Miro Cartones 1959-1965...

Screenprint in colors on wove paper. Hand signed, dated and numbered 'AP' by the artist (main edition of 150 plus 10 artist proofs made). Image size 19.5 x 37 inches. Sheet size 25.7...

Composition is an original contemporary artwork realized in the 1960s by Rainer Maria Küchenmeister (Ahlen, 1926 - Paris, 2010). Original Etching on paper. Sigled on paper on the lower left corner. Excellent conditions. Rainer Maria Küchenmeister (Ahlen, 1926 - Paris, 2010). Rainer Küchenmeister...

Hand signed and numbered. Etching and aquatint. Edition of 60 prints. From the graphic collection: "Il Surrealismo tra le due guerre" Bibliography: L'Oeuvre gravée de Matta, Sonet ...

Jean Dubuffet - Original Lithograph from XXe Siecle magazine 1958 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. Unsigned and unumbered as issued

Artist: Pablo Picasso (after) Title: Le Clown Year: 1968 Edition: 149/300 Medium: Color lithograph Signed: Signed and numbered in pencil Medium: Lithograph Frame Size: 35 1/2" x 29 1...

Andy Warhol Campbell’s Soup Silk Screen on Shopping Bag Published for the Andy Warhol Exhibition at the Institute of Contemporary Art of Boston in 1966 Framed Very good condition ...

This first edition exhibition poster was created for David Hockney's Complete Prints show at Galerie Mikro in Berlin in 1968. It features the artwork Two Boys Aged 23 or 24 from the ...

André LANSKOY (1902-1976) Composition Lithographic poster Editor: Mourlot Dimensions: 58.5 x 47.5 cm André Lanskoy was one of the great painters o...

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 ...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (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...

"Femme Au Collant Rose" by Rufino Tamayo is a Figurative Abstraction lithograph limited edition measuring 30x22 in. The piece is framed beautifully with a white mat in a gold and bla...

Artist: Ben Shahn, American (1898 - 1969) Title: To Roads in Unknown Places from the Rilke Portfolio Year: 1968 Medium: Lithograph on Arches, signed in the plate Edition: 750 Size: 2...

"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...

Jean Cocteau - Europe's Founders - Original Lithograph Title: Europe's Founders Signed in the plate Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sci...

By Rei Yuki Medium: Wood block print on paper Size: 27 x 21" Year: 1967 Framed

Image dimensions: 25.3 x 19.3 cm. La Morte degli amanti is a wonderful colored serigraph on paper, realized by the Italian artist, Mario Radice and published in 1964 by La Nuova Fog...

Jean Jansem, French (1920 - 2013) - Girl From Behind, Year: circa 1965, Medium: Lithograph, Size: 14.5 x 11 in. (36.83 x 27.94 cm), Frame Size: 21 x 17 inches

Jean Jansem, French (1920 - 2013) - Three Children, Year: circa 1960, Medium: Lithograph, signed in the plate lower right, Image Size: 12.5 x 9.5 inches, Frame Size: 20.25 x 17.2...

Jean Arp, French (1886 - 1966) - A Travers Les Myrtes du Reve, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 13 x 9.5 ...

Jean Arp, French (1886 - 1966) - Qu'est-Ce Que C'est Que Ca, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 10.75 x 8.2...

Jean Arp, French (1886 - 1966) - Precipice, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 10.5 x 8.25 inches, Size: 1...

Jean Arp, French (1886 - 1966) - La Maitre-Cloueur, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 10.75 x 8.5 inches, ...

Jean Arp, French (1886 - 1966) - La Cathedrale est Un Coeur, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 10.5 x 8.25...

Stanley William Hayter, British (1901 - 1988) - Abstract Composition, Year: 1967, Medium: Etching, signed and dated in pencil, Image Size: 8.25 x 6.5 inches, Size: 15 x 13.5 in. ...

Jean Arp, French (1886 - 1966) - Poupee, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 12.75 x 9.5 inches, Size: 15 x...

Marc Chagall, Russian (1887 - 1985) - Le Peintre from Derriere Le Miroir No 147, Portfolio:, Year: 1964, Medium: Lithograph, Image Size: 5 x 5.5 inches, Size: 13.75 x 10.75 in. (...

Leonel Gongora, Colombian (1932 - 1999) - Rembrandt, Year: circa 1968, Medium: Hand-Colored Etching and Aquatint, signed, titled and numbered in pencil, Edition: 2/50, Image Size:...

Jean Arp, French (1886 - 1966) - Une Onde Blanche, Portfolio: Vers Le Blanc Infini, Year: 1960, Medium: Etching on BFK Rives, Edition: 349/499, Image Size: 9.5 x 6.75 inches, Si...

Circa 1960 Egypt UAR (United Arab Republic) poster emerges as a mesmerizing portrayal of a journey through the ancient wonders of this culturally rich ...

Aquatint Handsigned by the artist in pencil Edition : 65/135 65.00 cm. x 49.00 cm. 25.59 in. x 19.29 in. (paper) 44.50 cm. x 41.50 cm. 17.52 in. x 16.34 in. (image) This engraving...

Aquatint Handsigned by the artist in pencil Edition : 65/135 65.00 cm. x 49.50 cm. 25.59 in. x 19.49 in. (paper) 46.50 cm. x 40.50 cm. 18.31 in. x 15.94 in. (image) A beautiful wo...

Artist: Chagall, Marc Title: Ruth at the Feet of Boaz Series: Bible Date: 1960 Medium: Lithograph Unframed Dimensions: 13 15/16 x 10 7/16 inches...

Salvador Dali (1904-1989) - The Inferno, Canto 7 - The Avaricious and the Prodigal Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm ...

This original lithograph in colours is hand signed in pencil by the artist "Gino Severini" in the lower right margin and signed in the plate "Severini" in the lower right corner of t...

"Musee de L'Athenee" is an original color lithograph poster by Joan Miro. It is from an edition of 1000. It showcases Miro's surreal biomorphic marks and is an advertising poster for...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 144-145-146, 1964. Publishe...

Jasper Johns Recent Still Life (Hand signed and dated by Jasper Johns), 1966 Collotype. Hand signed and dated by Jasper Johns Edition of 2100 (this work is, exceptionally, hand signed & dated by Johns; the regular edition is not) Signed and dated lower right front by Jasper Johns in graphite pencil August, 27, 2008 Provenance: Estate of artist and noted collector Rick Collar Framed This scarce early (1966) limited edition collotype was published on the occasion of the exhibition "Recent Still Life" at the Museum of Art, Rhode Island School of Design. The regular unsigned edition was 2100, and the official signed edition was 100; however, exceptionally, Jasper Johns signed...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Medium: original lithograph. Catalogue reference: M 365. Executed by Chagall for the Jerusalem Windows portfolio and printed in Paris in 1962 at the atelier Mourlot. Size: 12 3/4 x 9...

Medium: original lithograph. Printed in Paris in 1967 by Clot, Bramsen et Georges and issued in an edition of 2500 for "Les Temps Situationistes" (The Situationist Times -- a radical...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (20...

Linocut on vélin paper. Paper Size: 12.5 x 14.5 inches; image size: 10.5 x 12.75 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Orozco, M. (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...

Salvador Dali - Large Flask - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lops...

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...

LEONARD EDMONDSON (1906 – 2001) GARDEN OF EDEN c. 1960 Color intaglio (carborundum?) Signed and titled in pencil. Small edition, these larger prints...

Marcel Duchamp Hommage a Caissa (for the Marcel Duchamp Fund of the American Chess Foundation), 1966 Silkscreen Poster with Gold Matting Frame included Very scarce 1960s collectors item - rarely seen! Measurements: Framed: 26.25 x 21.25 x 0.5 inch Print: 26 x 21 inches Unsigned Accompanied by Certificate of Guarantee issued by Alpha 137 Gallery This extremely rare and historic invitation/exhibition poster was designed by Duchamp on the occasion of a group exhibition at New York's Cordier & Ekstrom Gallery for the Marcel Duchamp Fund of the Americas Chess Foundation in 1966. Duchamp used the RSVP cards he sent to various artists as a design for this invitation. Many of these RSVP cards had the artist's autographs, and a few, like the one from Alexander Calder, included personal notes to Duchamp. Some of the more famous of the 36 artists featured in print who participated by donating works to this fundraiser include: Jasper Johns, Karl Gerstner, David Hare, Salvador Dali, Enrico Donati, Roberto Matta, Isamu Noguchi, Alexander Calder, Dorothea Tanning, Jean Tinguely, Niki De St. Phalle, George Segal, Robert Rauschenberg, James Rosenquist, Meret Oppenheim, Alfonso Ossorio, Robert Motherwell, Claes Oldenburg, Man Ray, Joan Miro, Rene Magritte, Richard Lindner, Roy Lichtenstein, Arman, Enrico Baj, Hans Bellmer, Victor Brauner, Alexander Liberman, William Copley, Cleve Gray and several others. However -- did you notice one name was noticeably absent? Andy Warhol! How could that be? Well, it turns out Andy Warhol has actually expected to be invited to exhibit but for some reason was overlooked. He did, however, attend the opening and filmed Duchamp in one of his famous "Screen Tests...

Pablo Picasso (1881-1973) - The Madman Pochoir from 1961. The edition: 442/500 written in pencil. Dimensions of work: 53.8 x 41.5 cm Publisher: Au Vent d'Arles, Paris. Image siz...

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...

Set of 2. Sold framed. Very rare Artist Proof and Trial Proof from Jones' 'Fleet of Buses' series are amongst the greatest prints of his major 1960's Pop period. Only 20 prints in the regular edition, this one being a rare Trial Proof. Allen Jones’ firsts works are considered to be among those which launched British pop art. A display of several school buses...

Marc CHAGALL Paris : Ceiling of Opera Garnier Original stone lithograph Not signed and not numbered On paper 32 x 25 cm (c. 13 x 10 inch) Edited by Sauret, 1962 REFERENCES : Catalo...

Etching in colors on vélin pur chiffon de Rives paper. Paper Size: 14.875 x 11.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Dalí­ ill...

Bernard Cathelin Mexique 1964 Original Color Lithograph on Velin d'Arches Size: 10x7.375in Edition: 2,000 Annotated verso Unsigned as issued Publisher: Mourlot, Paris Printer: Mourlo...

Silkscreen on Mohawk Superfine Bristol paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Publishe...