1970s Prints and Multiples

LEONOR FINI Regal Cat with her Cat 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Josef Albers (1888-1976) is affiliated with numerous movements that have defined 20th century art. Historians credit Albers with fusing elements of American and European abstraction ...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Maravillas con Variaciones Acrosticas en el jardin de Miro (Number 22) Year: 1975 Medium: Lithograph, signed in the plate Edition: 150...

Abstract Composition  is a contemporary artwork realied in 1974. Mixed colored lithograph. Hand signed and dated on the lower right margin. Numbered on the lower left margin. Edi...

Original, horizontal, 1972, 'ICED LOLLY" created by the British artist Michael English. Printed in Harlow England. This nude is melting the form ...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Ballade du Soldat, 34 Lithographies Originales de Max Ernst, 1972. P...

Lithograph and silkscreen with grease crayon, lithographic tusche, lead pencil, charcoal on vélin d'Arches paper. Paper size: 12.8 x 9.84 inches. Inscription: Unsigned and unnumbered...

Artist: Joan Miro Title: Joan Miro Medium: Lithograph in colors Date: 1975 Edition: Unnumbered Frame Size: 15 1/8" x 22 3/4" Sheet Size: 7 7/8" x 15 1/2" Signature: Signed in the pla...

Pierre SOULAGES (1919-2022) Serigraph n°12, 1979 Original serigraph Signed in pencil Numbered 27/75 copies On Arches vellum 52 x 37 cm (c. 21 x 15 in) REFERENCE: Catalogue raisonné of the original prints of Pierre Soulages, BNF #104 INFORMATION: This serigraph is part of the series "On the wall opposite", published by Bernard Frize...

MECKLENBURG AUTUMN is an original limited edition color lithograph printed using traditional hand lithography methods on archival Arches printmaking...

Ball Park Ralph Fasanella American (1914–1997) Date: 1974 Screenprint, signed and numbered in pencil Edition of 122/250 Image Size: 25 x 37 inches Size: 31 in. x 43 in. (78.74 cm x...

Paper Size: 25.5 x 27.25 inches ( 64.77 x 69.215 cm ) Image Size: 21.75 x 26 inches ( 55.245 x 66.04 cm ) Framed: No Condition: A: Mint Additional Details: From an exhibition h...

LEONOR FINI Cat in Heels 1973 Color lithograph Ed. 157/230 12.5 x 9 inches

Original linen-backed 1974 Spoleto poster. Roman Polanski directed Alban Berg's opera LuLu at the Spoleto Festival, which was conducted by Christopher K...

Artist: Corneille, Belgian (1922 - ) Title: La Femme masque comme pour une fete Year: 1977 Medium: Lithograph, signed and numbered in pencil Edition: HC 4/15 Size: 26 in. x 19.5 in. ...

Medium: lithograph (after Matisse). Printed in sanguine ink on cream laid paper from the Papeteries Casteljoux and published in Geneva by Edito-Service in 1970. This reproduces one o...

Lebadang (aka Hoi), Vietnamese (1922 - 2015) - Cherry Blossoms. Year: circa 1970, Medium: Lithograph on Handmade paper, signed in pencil, Edition: EA, Size: 29 x 21 in. (73.66 x 53....

The Soldier's Ballad is a contemporary artwork realized by Max Ernst in 1972. Mixed colored lithograph on Arches Paper. Edited by Manus Presse, Stuttgart 1972. Not signed and not ...

Artist: Victor Vasarely Title: Profound Works Year: 1973 Not signed or numbered, as published Dimensions: 12 in. by 12 in. Framed Edition: From the Rare Limited Edition Publisher: Ed...

Lithograph, 1971 Edition : XIII/XVIII Publisher : Galerie de France (Paris) Printer : Mourlot (Paris) 77.50 cm. x 118.50 cm. 30.51 in. x 46.65 in. (paper) 71.50 cm. x 105.50 cm. 28...

MARINO MARINI (1901-1980) MIRACLE - Etching, Signed and numbered 70 / 75 in pencil. Image 15 ½ x 10 ½ inches,. Full sheet 22 3/8 x 15 inches with deckle edges. Plate IV of the serie...

Lithograph on vélin Sarrió paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Tapís De Tarragona, il·lustracions, Joan Miró, 1972. Published by Sala Ga...

White Finger Ball  is an abstract silk-screen and copperplate engraving print on heavy paper, realized in 1973 by the Japanese artist Shu Takahashi. Unsigned, and not numbered, this...

Silhouetted by the night sky, a brimmed hat perches on its stand, hovering above red-speckled ground like an aircraft. The moon shines bright white, and subtle clouds gather at the h...

Collotype from frottage on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Max Ernst, Histoire Naturelle, 1972. Published and printed by Verla...

New Nucleus Herbert Bayer, Austrian (1900–1985) Date: 1973 Screenprint, signed and numbered in pencil Edition of 7/50 Image Size: 29.75 x 29.75 inches Size: 32 in. x 32 in. (81.28 cm...

Noel Daggett, American (1925 - 2005) - Last to Arrive, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 19 x 23 inches, Size:...

Roger de la Fresnaye Countryside : Girl Playing with a Dog Stone lithograph after a painting Printed in Mourlot workshop Printed signature in the plate On Arches vellum 65 x 50 cm...

Paper Size: 25 x 19.5 inches ( 63.5 x 49.53 cm ) Image Size: 19 x 14 inches ( 48.26 x 35.56 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional De...

Original Evel Knievel, 1971 vintage movie poster. Excellent condition, folded as initially shipped to the movie theater. U. S. original 1-sheet movie poster A Timeless Tribute t...

Artist: Jimmy Ernst  Title: Plate III Year: 1970 Print: Screen Print on Heavy Paper 28'' x 37'' inches Edition: Signed in pencil and numbered 1 /125 Jimmy Ernst’s artwork was inf...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 246. Published by Aimé Maeght, Éditeur...

ALEX KATZ (1927-Present) 32-color silkscreen on 2-ply museum board signed and numbered 23/60 in pencil. Published by Lococo Fine Art Publisher, St. Louis, Missouri.

Construction d’un temple – Plate n. 10  is a  b/w   original etching  realized in 1973 (as reported on plate on the lower right margin) by Paul Delvaux. From the collection “ Constr...

Paper Size: 20 x 23.25 inches ( 50.8 x 59.055 cm ) Image Size: 17 x 20.25 inches ( 43.18 x 51.435 cm ) Framed: No Condition: A: Mint Additional Details: Donald Duck's evolution from a secondary character to a beloved icon mirrors Disney's growth from a small animation studio to a global entertainment powerhouse. Throughout this journey, posters have played a crucial role in marketing and defining the visual identity of Disney's many beloved properties. From the early days of hand-drawn posters to today's digital designs, Disney posters...

Salvador Dali (1904-1989) - Les Songes Drôlatiques de Pantagruel, Planche XVIII Lithograph from 1973. Edition 6/250 on Japon paper. Dimensions of work: 76 x 56 cm Publisher: Carp...

Jack Beal Frogs and Toad, 1971 Hand signed in pencil by Jack Beal, annotated AP One-color lithograph proofed by hand and pulled by machine from a zinc plate on Arches buff paper with deckled edges at the Shorewood Bank Street Atelier Stamped, hand numbered AP, aside from the regular edition of 150 Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears blind stamp 18 × 24 inches Unframed 18 x 24 inches Stamped on reverse: COPYRIGHT © 1971 BY JACK BEAL, bears distinctive blind stamp of publisher (shown) Publisher: David Godine, Center for Constitutional Rights, Washington, D.C. Jack Beal's "Frogs and Toads" is a classic example of protest art from the early 1970s - the most influential era until today. This historic graphic was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This lithograph has fine provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Nancy Spero and Leon Golub, Romare Bearden Sol Lewitt, Robert Morris, Claes Oldenburg, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella - as well as this one by Jack Beal. It was originally housed in an elegant cloth case, accompanied by a colophon page. This is the first time since 1971 that this important work has been removed from the original portfolio case for sale. It is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Jack Beal wrote a special message about this work on the Portfolio's colophon page. It says, "In 1956, shortly after Sondra and I moved to New York, two friends were arrested and jailed for protesting air-raid drills. From them and their friends came our education. This work is dedicated to them and their families. "In Memory of Patricia McClure Daw and AL Uhrie" - This print was made for their children. Jack Beal Biography: Early in his career Walter Henry “Jack” Beal Jr. painted abstract expressionist canvases, because he believed it was “the only valid way to paint.” By the early 1960s he totally altered his approach and fully repudiated abstraction. Turning to representation, he painted narrative and figurative subjects, often enhanced by bright colors and dramatic perspectives. Beal was born in Richmond, Virginia, and from 1950 to 1953 he attended the Norfolk Division of William and Mary College Polytechnic Institute, (now Old Dominion University) where he studied biology and anatomy. Shifting gears, he sought art training at the School of the Art Institute of Chicago where he focused on drawing, and met his wife, artist Sondra Freckelton. His art history instructor encouraged her students to paint in the manner of established artists, and to that end he frequented the Institute’s galleries. For Beal this was significant: “Until I saw pictures of real quality I had tended to think of painting as just so much self-indulgent smearing around, but when I saw masterpieces by Cézanne and Matisse, and other painters of similar stature, I was bowled over; suddenly I realized the force of art.” After spending three years (1953–1956) at the Art Institute, Beal concluded his studies there without getting a terminal degree, thinking it was only useful if he wanted to teach, which, at the time, he did not. He also took courses at the University of Chicago in 1955 and 1956. During this period he married Freckelton, a fellow student and sculptor who began her career working in wood and plastic. Together they moved to New York’s SoHo District before its transformation from a wasteland of sweatshops and small factories into an arts district. They were active with the Artist Tenants Association which was instrumental in getting zoning laws changed so that artists could live and work in the well-lit lofts. Embracing what came to be called “New Realism,” Beal initially painted an occasional landscape as well as earthy-toned still lifes which consisted of jumbled collections filled with personal objects. His signature style started with a series of female nudes—all modeled by Freckelton—based on Greek mythology. These were large canvases with flat paint surfaces, dramatic foreshortening, and unusual perspectives. He further enlivened them with vivid colors, stark lighting, and dynamic patterns derived from textiles and overstuffed furniture. He stopped painting nudes after two episodes. The first came as he was loading a canvas of his naked wife onto a truck in lower Manhattan; several laborers walked by and started to fondle and kiss the painting. On the one hand he felt his wife had been violated, while on the other he was pleased that his realism was so convincing. The second occurred after a solo exhibition in Chicago at which the reception had been sponsored by Playboy magazine. A few days later he was approached by a publicist and asked if Playboy bunnies could be photographed in front of his paintings. He refused. Some portrait commissions came Beal’s way, but he preferred only portraying friends. More significant were four large murals on the History of Labor in America, the 20th Century: Technology (1975), which he undertook for the headquarters of the United States Department of Labor in Washington. Following a historical timeline, the themes were: colonization, settlement, nineteenth century industry, and twentieth century technology. The unveiling ceremony was attended by government officials and Joan Mondale, an arts advocate and wife of the vice-president. The reviewer for the Washington Post wrote enthusiastically: “They’re heartfelt and they’re big (each is 12 feet square). Their many costumed actors (the Indian, the trapper, the scientist, the hardhat, the capitalist in striped pants, the union maid, etc.) strike dramatic poses in dramatic settings (a seaside wood at dawn, an outdoor blacksmith’s forge, a 19th-century mill, a 20th-century lab). The lighting is theatrical. Beal’s compositions, with their swooping curves and bunched diagonals, are as complicated as his interwoven plots.” To accomplish the murals Beal assembled a team of assistants and models, much in the manner of Renaissance masters, which included artist friends and Freckelton. who by then was painting brightly colorful still lifes. A second mural commission ensued from New York City’s Metropolitan Transit Authority for two twenty-foot long installations for the Times Square Interborough Rapid Transit Company subway station. Beal’s designs for The Return of Spring (installed in 2001, three days after the terrorist attacks in New York, Washington, DC and Philadelphia) and The Onset of Winter (installed in 2005), Beal captured the appearance of his models in an oil painting made to the scale of the intended mosaic. A collaboration with Miotto Mosaics, the canvases were shipped to the Travisanutto Workshop, in Spilimbergo, Italy, where craftsmen fabricated the design to glass mosaics. The Return of Spring depicted construction workers and other New Yorkers in front of a subway kiosk and an outdoor produce market and in The Onset of Winter, a crowd watches a film crew recording a woman entering the subway as snow falls against the city’s skyline. Harkening back to some of his early nudes based on Greek myth, Persephone, goddess of fertility and wife of Hades, appears in both. The symbolism is pertinent, since she spent six months each year below ground. Although he disparaged teaching early on, Beal and Freckelton offered four summertime workshops on their farm in Oneonta, New York. He was an instructor at the New York Academy of Art, a graduate art school he helped to establish in 1982. Returning to Virginia, he taught at Hollins College...

Signs is an original Contemporary artwork realized in the 1970s by the italian artist Leo Guida. Original Lithograph on paper. On the lower margin is written, in pencil, "Prova" (...

Hand signed and numbered. Limited edition of 350 prints. From the suite “Alphabet”. Near perfect condition. Lithograph/Screen print.

Lithograph on vélin d’Arches paper. Paper Size: 19.5 x 28.25 inches, with centerfold, as issued. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné refere...

Kenneth Snelson New York State Council on the Arts vintage poster, 1971 Offset lithograph on wove paper Unsigned, Unnumbered 35 × 25 inches Unframed Scarce original 1970s offset lit...

Claude Tabet, French (1924 - 1979) - City Square II. Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 250, EA, Image Size: 23 x 19 inches, Size: 30 x 22 ...

Gwathmey, Robert (American 1903-1988). MIGRANT. Screenprint, 1978. An Artist's Proof aside from the edition of 100. Signed in pencil and inscribed "A/P.". 27 3/4 x 18 3/4 inches (ima...

’Complementaries’ By Yutaka Takayanagi. Medium - Relief and lithographic print Edition - 19/20 Signed - Yes Size - 615mm x 780mm Date - 1976 Condition - Good. 9 out of 10. Born in Tokyo in 1941, Takayanagi's artistic journey began when he enrolled at Tokyo University of the Arts in 1960, studying under the renowned oil painter Kaoru Yamaguchi. His talent was quickly recognized when he received an Honorable Mention at the 8th Shell Arts Award Exhibition in the same year. During his time at university, Takayanagi took an intensive course in copper plate printing under Tetsuro Komai, receiving his degree from the graduate school in 1966. Fascinated by the simultaneous color print method, he started creating copperplate prints and soon gained recognition for his unique metallic reliefs, which he produced using collages of English newspapers. Takayanagi's passion for experimentation led him to create metallic emboss reliefs using his own photographs, and in the latter half of the 1980s, he moved on to silkscreen prints. He continued to push the boundaries of his art, constantly exploring new techniques and mediums. In 1978 and the following year, Takayanagi was appointed as an arts researcher for the Ministry of Culture and traveled to the United States, France, and the UK. These experiences enriched his artistic perspective and further cemented his reputation as a highly regarded artist. Takayanagi was part of the influential printmaking group Sosaku Hanga, which emerged in the early 20th century in Japan. This movement emphasized the artist's involvement in every stage of the printmaking process, from designing the image to carving and printing the blocks. Takayanagi's work often incorporates elements of nature and landscape, with an emphasis on texture and pattern. He also experimented with collage, incorporating found materials like newspaper clippings and photographs into his prints. Takayanagi's work has been exhibited extensively in Japan and internationally, including at the Museum of Modern Art in New York and the National Museum of Modern Art in Tokyo. He has also received numerous awards for his contributions to printmaking, including the Japan Print Association Award and the Purple Ribbon Medal...

This is an original vintage poster from 1970 by Saul Steinberg, created to celebrate a special event at the Maeght Gallery in Paris, titled Nuits de La Fondation. The event featured ...

Medium: lithograph (after the collage). Printed in 1976 and published in Lugano by Editore-Stampatore Giulio Topi in an edition of 500 for the "Pensieri Poesie Disegni Collages" port...

Artist: Rene Gruau, Italian (1909 - 2004) Title: Bather Year: circa 1990 Medium: Lithograph on Japon, signed and numbered in pencil Image Size: 20 x 15 inches Frame Size: 27 x 20 inches

Pierre Alechinsky Worldly Flying Object - 1977 Print - Lithograph on Arches Archival Paper 19'' x 27 ½ " inches Edition: Signed in pencil and marked 23/1...

Rainbow shades shine in delicate clusters of vertical lines, in this abstract, geometric lithograph. Vibrant yellow, green, magenta pink, blue and brown take on the organic quality o...

Artist: Robert Natkin, American (1930 - 2010) Title: Intimate Lighting II Year: 1972 Medium: Screenprint on Cream Arches Paper, signed, dated and numbered in pencil Edition: 36/150 S...

Lithograph Handsigned by the artist in pencil and annotated HC 17 65.00 cm. x 50.00 cm. 25.59 in. x 19.69 in. (paper) 43.50 cm. x 36.00 cm. 17.13 in. x 14.17 in. (image) Arches pap...

Abstract composition is a colored etching realized by Hsiao Chin in 1977. The artwork is hand-signed and dated in pencil on the lower right. Numbered on the lower left.  Edition of...

Artist Name: Peter Max House in the Clouds Year: 1971 Medium Type: Silkscreen, on Arches Paper Size-Width Size-Height: 22” x 30” Signed Edition Size: signed in pencil and numbered...

Jacques Monory In Honor of Oklahama's War Heroes, 1976 Original screen print Handsigned On BFK Rives 38 x 28 cm (c. 14x 11 in) Limited to 300 exemplary, not numbered INFORMATION: ...

Artist: Arman, French (1929 - 2005) Title: New Romanticism Year: circa 1979 Medium: Screenprint, signed and numbered in pencil Edition: 150, AP 30 Size: 30 in. x 22 in. (76.2 c...

Medium: offset lithograph (after Vasarely). Printed in 1972 in Neuchatel, Switzerland on thick, high-gloss paper and published by Editions du Griffon for the "Vasarely Progressions 1...

Untitled from Celui qui dit les choses sans rien dire (One who says things without saying anything). Color etching and aquatint on Japon Imperial paper. Hand signed and numbered by M...

FEATHER DANCER is a limited edition color lithograph by the American painter Lamar Briggs printed using traditional lithography techniques on archival Arches paper. Lamar Briggs (193...

Hugo Dermaco Relation Couleur, 1973 Silkscreen on velincarton Hand-signed by artist, Hand signed and numbered 62/200 on lower front. Bears the publisher's blind stamp on the front. 29 1/2 × 29 1/2 inches Unframed This beautiful silkscreen on velincarton (thin board) by Hugo Demarco...

Medium: lithograph (after the collage). Printed in 1976 and published in Lugano by Editore-Stampatore Giulio Topi in an edition of 500 for the "Pensieri Poesie Disegni Collages" port...