1960s Prints and Multiples

Artist: Dali, Salvador Title: Leda and the Swan Series: The Mythology Date: 1963 Medium: drypoint on Japon paper Unframed Dimensions: 30" x 18 1/8" Framed Dimensions: 42" x 34...

Andy Warhol The Souper Dress c. 1965-1967: Inspired by Andy Warhol’s Campbell’s Soup Cans, this dress was sold by the Campbell’s Soup Company in the late 19...

ARTIST: Salvador Dali TITLE: The Magicians L'Illusioniste MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Editions Argillet, Paris EDITION NUMBER: 68/100 MEASUREMENTS: Paper: 1...

Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

This original lithograph titled Paddock at Deauville by renowned French artist Raoul Dufy captures the lively atmosphere of the famous horse racing scene at Deauville. Dufy, who init...

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 Detai...

A very good impression of this color aquatint, etching and carborundum. Signed and numbered 27/75 in pencil by Miro. Printed and published by Maeght, Paris. Catalogue reference: Du...

Yayoi Kusama Red & Black Pumpkin 2019: An iconic, vibrantly colored pop art piece - this rare, sought-after red Kusama pumpkin sculpture features the universal polka dot patterns and...

Salvador Dali (1904-1989) Purgatory 13 - The Second Terrace Color woodcut on paper Printed signature 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFE...

A bold and vibrant reproduction of Andy Warhol’s iconic 1964 Flowers series, this striking artwork is printed on heavy art paper, showcasing the enduring brilliance of Pop Art. The c...

Bernard Buffet, French (1928 - 1999) - La Place des Vosges. Year: 1962, Medium: Lithograph, signed and numbered in pencil, Edition: 141/150, Size: 21 x 27 in. (53.34 x 68.58 cm), Fr...

Lithograph on vélin de Rives paper. Paper Size: 15 x 11 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Taureaux, Lithographies de Jean Coc...

Medium: Lithograph on vélin d'Arches paper Year: 1966 Paper Size: 20 x 26 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Soutine, I, Collection Pierre ...

These beautiful and colorful lithographic posters were hand reproduced by the Mourlot Studio's Master Printer Henri Deschamps in 1969. They are not to be mistaken with later cheap digital and giclée reproductions. Ed. 1,500 In December of 1894, Mucha visited a print shop contracted to create a new advertising poster for a play featuring Sarah Bernhardt, the most famous actress in Paris at the time. Mucha volunteered to produce a lithographic poster within two weeks, and on January 1, 1895, the advertisement for the play Gismonda by Victorien Sardou was posted in the city, where it attracted much attention. Bernhardt was so satisfied with the success of this first poster that she signed a six-year contract with the artist. Written by Alexandre Dumas (son) when he was 23 years old, and first published in 1848, "La Dame aux Camélias...

Artist: Alexander Calder (American, 1898-1976) Title: "Untitled (front cover)" Portfolio: Derrière le Miroir (No. 156) *Issued unsigned, though signed by Calder in the plate (printed signature) lower right Year: 1966 Medium: Original Lithograph on smooth wove paper Limited edition: Unknown Printer: Arte Adrien Maeght, Paris, France Publisher: Galerie Maeght, Paris, France Sheet size: 14.75" x 11" Condition: In excellent condition Notes: Lithograph produced for the 1966 No. 156 "Derrière le Miroir" portfolio in conjunction with a special exhibition of Calder's work at Galerie Maeght, Paris, France in February of 1966 which featured 13 totems and 27 gouaches. The complete folio included a poem by Jacques Prévert and texts by Professor Meyer Schapiro, Alexander Calder, and Nicholas Guppy. Small spiral lithograph and text on verso as issued. In October 1945, the French art dealer Aimé Maeght opens his art gallery at 13 Rue de Téhéran in Paris. His beginning coincides with the end of Second World War and the return of a number of exiled artists back to France. The magazine Derriere Le Miroir was created in October 1946 and published without interruption until 1982. Maeght's ambition in establishing his print shop and his publication magazine Derriere Le Miroir was to make available to a broader audience less expensive printed imagery by the artists of his time, many whom were represented by his Paris gallery...

Kiss after Roy Lichtenstein Roy Lichtenstein was a prominent American pop artist known for his bold, comic strip-inspired paintings. Emerging in the 1960s, his work featured bright...

Rare vintage original poster published by the famous Paris Gallery Claude Bernard pour an historic exhibition of Jean Dubuffet in the sixties (1964) a...

Joe Goode Floating Cards - Part IV, 1969 Lithograph on Arches paper with two deckled edges. Hand signed, dated and annotated Artists Proof on the lower front 22 1/4 × 29 4/5 inches Unframed Part of Joe Goode's five part 1960s series "Floating Cards". Rarely to market. The provenance of this print is from the Reese-Palley Gallery. The famous dealer and adventurer Reese Palley of Atlantic City New Jersey - was the second gallerist in the 1960s - after Paula Cooper - to set up shop in SOHO. Hand signed, dated, and annotated Artist's Proof aside from the regular edition. Pop art pioneer Joe Goode (born 1937) was born in Oklahoma City, Oklahoma, in 1937. In 1959 he moved to Los Angeles, California, where he attended the Chouinard Art Institute until 1961. First recognized for his Pop Art milk bottle paintings and cloud imagery, Goode's work was included along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Robert Dowd, Edward Ruscha, and Wayne Thiebaud, in the 1962 ground-breaking exhibit New Painting of Common Objects, curated by Walter Hopps...

Medium: original lithograph. Printed in 1964 and published by Eberhard Kornfeld for the 1 Cent Life portfolio in an edition of 2000. Size: 16 1/4 x 11 3/8 inches (408 x 290 mm). Ther...

Helen Frankenthaler Untitled, from the estate of Stephen Poleskie (Berggruen 11, Clark 12, Harrison and Boorsch 11), 1967 Color silkscreen on wove paper Unframed A unique unsigned pr...

Joan MIRO The King's Feast, King Ubu, 1966 Original lithograph (Atelier Mourlot, Paris) Unsigned Numbered / 75 copies On Arches vellum 54 x 75 cm (c. 21.2 x 29.5 in) REFERENCE : Ca...

Heaven of Jupiter is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. Plate n.20 (as...

Nevelson, Louise. UNTITLED. Baro 36. Tamarind Number 801. Lithograph, 1963. Edition of 20, plus 2 Printer's Proofs, 1 Trial Proof, and 3 Artist's Proofs. Inscribed "Tamarind Impressi...

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...

Héliogravure on brown-toned paper, so signature. On bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade, Paris. Ref. Mourlot,...

Artist: Marc Chagall (after) Title: Carnaval of Flowers Portfolio: Nice and the Cote d'Azur Medium: Lithograph Date: 1967 Edition: Unsigned and unnumbered proof (aside from the editi...

Lithograph on vélin paper. Paper Size: 26 x 19 inches; image size: 18.3 x 18.3 inches, with quadfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Catalogue...

Menton by Constantin 1960 vintage French TRAVEL POSTER By Terechkovitch Georges Terechkovitch (1908-1993) was a French artist of Russi...

Holy Bible -  Inter Filios Dei Affuit Etiam Satan is Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolan...

Georges Braque, French (1882 - 1963) - Derniers Messages, Year: circa 1965, Medium: Lithograph, Image Size: 23.5 x 17 inches, Frame Size: 28 x 19.5 inches

"Bernard Buffet: Oeuvre Gravé" is a 1967 publication that showcases the lithographic works of French artist Bernard Buffet from 1952 to 1966. The book contains 11 original color lith...

Joan MIRO Composition with Stars Original lithograph (printed in Mourlot workshop) Printed signature in the plate On Arches vellum 25 x 19 cm (c. 10 x 8 inch) Edited by Mourlot in 1...

WERNER DREWES (German-American 1899-1985) TREE AT NIGHT, 1964 (Rose 241) Color woodcut Signed titled, dated and numbered 40 /210 all in pencil below image. Image 11 1/8 x 15 7/8 inc...

In the Post World War ll era, Howard Hughes as the owner of TWA was a dominant force in expanding and promoting the routes flown by his company. As the economy was vastly improving, ...

Pablo Picasso Torero and Bull from Toros y Toreros, 1961 Lithograph Sheet size: 26.7 x 37 cm Publisher: Éditions Cercle d'Art, Paris. This lithograph by Pablo Picasso, dated Januar...

Screenprint in colors on Schoellers Parole paper, edited in 1968 Limited edition 125 copies , signed in pencil by artist Paper size: 64,8 x 50,2 cm ( 25-1/2 x 19-3/4 inches ) Very go...

Alexander CALDER USA : McGovern for McGovernment, 1972 Original screenprint Handsigned in pencil Justified EA (artist proof) On BFK Rives Vellum 88 x 60 cm (c. 35 x 24 in) Authentic...

This contemporary colorful print of a bird is by Charles Pachter. Beloved for his playful pop art imagery, the Canadian artist produced a number of giclee prints in the 1960’s like ...

Helen Frankenthaler Air Frame, from the New York Ten portfolio (Harrison 6), 1965 Color silkscreen on Arches double-weight watercolor paper Signed and annotated AP in graphite on the front; this is an Artist's Proof, aside from the regular edition of 200 “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler Pencil signed AP, one of 25 proofs aside from the regular edition of 200 Catalogue Raisonne: Harrison 6, Berggruen 7, Clark 6 Printed by Chiron Press, New York. Published by Tanglewood Press, New York. This work has been newly framed in a museum quality wood frame under UV plexiglass. The original label from the famed John Berggruen Gallery in California has been affixed to the back to preserve provenance. Other examples of this coveted 1965 work can be found in major institutional and museum collections worldwide. Measurements: Framed 29 inches vertical by 24 inches (horizontal) by 1.5 inches Artwork: 22 inches vertical x 17 inches horizontal This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Salvador Dali - Nude and Lobster - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 Editor : Au Cercle du Livre Précieux On Rives Vellum From the Serie Casanova Unsigned as ...

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...

Original LONDON FLY TWA vintage European travel poster created by the artist David Klein. Professional acid-free archival linen backed, excellent condition; no restoration; full boa...

This original 1967 poster by Victor Moscoso was created for a performance by The Chambers Brothers at The Matrix, a seminal music venue in San Francisco. Known for their energetic fu...

Andy Warhol The Thirteen Most Wanted Men (Dossier No. 2357) screen-print & exhibition catalog: Scarce 1967 Warhol Sonnabend exhibition catalog which includes the sought-after Andy Wa...

In 1967, the renowned French artist Pierre Soulages created an original lithograph titled Composition for the influential art magazine Revue XXe Siècle. This lithograph is emblematic...

This proof depicts one of Jim Dine's signatures motifs, a deep red heart, which drips down the page. Along the right side of the heart, hand-drawn text reads: “Red design for satin h...

Joan MIRO The Surrealist Animal, King Ubu, 1966 Original lithograph (Atelier Mourlot, Paris) Unsigned Numbered / 75 copies On Arches vellum 54 x 75 cm (c. 21.2 x 29.5 in) REFERENCE...

Pablo Picasso Amazone à cheval from Toros y Toreros, 1961 Lithograph Sheet size: 26.7 x 37 cm Publisher: Éditions Cercle d'Art, Paris. This lithograph by Pablo Picasso, dated March...

Medium: original lithograph. Printed by Mourlot and published in Paris by Teriade for the art revue Verve in 1960 for a special edition devoted exclusively to Chagall's original Bibl...

This lithograph was printed in 1960 and is based on the glassworks of the Saint Dominique church in Varengeville, in Normandy, where Braque had his country house. The original gouach...

The 1966 original exhibition poster by Man Ray for "À l'heure de l'observatoire – les amoureux" at the Los Angeles County Museum of Art (LACMA) is a captivating piece of art history....

The Negligent -  "The Divine Comedy" - Song 4 -  Purgatory is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. ...

Artist: Johnny Friedlaender – German/French (1912-1992) Title: Herbes Solaires (Solar Grass) Year: 1969 Medium: Aquatint etching with embossing Size: 30 x 22.25 inches. Signature: S...

Medium: screenprint (after the drawing). Printed in 1963 on a special semi-transparent paper in an edition of 450 for "Naissances" and published by Galerie Der Spiegel. Size: 11 3/4 ...

This silkscreen on tin, titled "Babe Rainbow," is part of a series of 12 paintings featuring fictitious female wrestlers by renowned artist Peter Blake. C...

Medium: original lithograph. Printed in Paris in 1964 by Mourlot Freres and issued in an edition of 2000 on Arches wove paper. Size: 10 x 7 1/2 inches (255 x 185 mm). Not signed.

Antoni CLAVE Man & Monkey, 1966 Original lithograph Handsigned in pencil On Arches Vellum 38 x 28 cm (c. 15 x 11") Excellent condition Published in 1966 for "La Croix Rouge" in th...

Original screen print from the Gemini series “Untitled” (Red), 1968 by Larry Zox. Condition is good. Mild toning of the white areas in the screen print. Other colors are still vibra...

Artist: Paul Klee, After, Swiss (1879 - 1940) Title: Bauchredner und Rufer im Moor (Ventiloque criant dans le marais) Year: 1964 after 1920 Drawing Medium: Pochoir on Rice Paper, Sig...

Artist: Hans Bellmer, German Title: Petit traite de Morale Year: 1968 Medium: Color Etching, signed in pencil Image Size: 10.5 x 8.5 inches Frame Size: 20 x 16 inches