Contemporary Art

Chris Smith (b.1937) Ali Versus The Beatles 1964 silver gelatin fibre based print 20 x 30 in. / 34.5 x 48 in. / 46 x 66 in. / 50 x 92 in. signed and numbered printed later This work...

Paris by Night is an original watercolour realized by an artist of the 1960s. Good condition, no signature. Mounted on a white cardboard passpartout (...

Technology in 1960s - Vintage Photograph is a vintage photograph realized by an Anonymous photographer. With script on the rear. Good conditions.

B / W photo by J.B. after his show at the Musical Hall Olympia in Paris. Shot together with Theater Director Henri Varna. "Associated Press" stamp.

Woman is an original drawing in marker and Watercolor, realized by Leo Guida in the 1960s. The status of preservation Good. The artwork is depicted skillfully through confident and...

Vintage b/w photo realized on the set of "In Harm' Way", in 1965.

Demons is an original artwork realized by Renzo Bussotti in 1963. Hand-signed and dated in pencil by the artist on the lower right margin; numbered in pencil on the lower left. Edi...

Female Portrait is an original Contemporary artwork realized in 1966 by the italian artist Leo Guida. Hand-signed and dated in pencil on the lower right corner: Leo Guida '66. Ori...

Black and white capture of Sammy Davis Jr. posed smiling in the studio. Sammy Davis Jr. was an American singer, actor, musician, comedian and dancer. At age two, Davis began his c...

Truth is an original painting in mixed media, ink tempera and watercolor, realized by Sergio Barletta in 1962. Applied on passepartout: 65 x 50 cm. Hand-signed and dated at the top...

Watercolor painting of a landscape with a lake and trees in the background. Mainly blue and fall colored tones. Signed and dated by the artist in the bottom left corner of painting. Artist Biography: William Zaner also known as Bill Zaner...

Triple Exposure of Jack Frost with Orchid Filter early 1960s Signed, dated, and numbered, verso Digital C-print 31 x 31 inches, image (Edition of 15) $4,...

Hand signed and numbered. Edition of 100 prints. Very good conditions.

Figures is an original painting in oil and tempera on hard cardboard, realized by Sergio Barletta in 1960. Hand-signed at the top-left. In good conditions. The artwork represents ...

Sandcastles (Bobby Kendall and Jay Garvin), early 1960s [049] Signed, verso Vintage C-print 3.5 x 3.5 inches This work is offered by CLAMP in New York City.

Hand signed, dated and numbered. Edition of 35 prints. Image Dimensions: 48x34 cm.

This black and white photograph by Bob Mizer is offered by CLAMP in New York City. 1964 Dated and numbered, verso Vintage silver print 4.5 x 3.5 inches (11.4 x 8.9 cm), image 5 x...

Martin Luther King Jr giving his "I Have a Dream" speech at the Lincoln Memorial in Washington DC, circa 1963. What's included: - Limited Edition Archival Print - Numbered Certifica...

The Queen Elizabeth II in Rome is a is a black and white vintage photo, realized in 1962. The photo depicts a official moment of the English Crown. Queen Elizabeth II visiting in Ro...

Lithograph on vélin realized by Giacometti for Derrière le Miroir n. 127, in 1961. Ref. lust 152; ADG (Alberto Giacometti's Database) 334 Very good condition.

Kirk Bond #3267-5 Stamped and numbered in black ink, verso Vintage silver print 6.875 x 4.875 inches, sheet 6.5 x 4.5 inches, image This work is offered b...

Awesome candid capture of the rock god Jimi Hendrix, seated backstage. Jimi Hendrix was an American musician, singer, and songwriter. Although his mainstream career spanned only fo...

Oil on cardboard realized by Sirio Pellegrini in 1968. Hand signed lower right. Includes a beautiful wooden frame, one-of-a-kind realized by the Artist cm. 59x68.5.

ROY LICHTENSTEIN (1923-1997) Roy Lichtenstein 'Sandwich and Soda' was conceived in 1964 as part of the portfolio “Ten Works by Ten Painters.”. This work is unsigned and unnumbered p...

A dog sits on the streets in front of a booth along Maxwell Street circa 1949. Framing options available. Art Shay Maxwell Street Dog, 1949 silver gelatin print, printed circa 2016 ...

A VERY EARLY UNTITLED YELLOW CLOSED FORM (INV# NP5476)! Toshiko Takaezu porcelain and glaze 5.5 × 6 × 6” 1968 signed Toshiko Takaezu (June 17, 1922 – March 9, 2011) was an American...

Oil and tempera on cardboard realized by Sirio Pellegrini in 1960s. Hand signed. Includes a coeval wooden frame realized by the Artist cm. 48.5x58.5.

Oil on panel realized by Sirio Pellegrini in 1965. Hand signed and dated. Includes a wooden frame realized by the Artist. cm. 74.5x64.5. Sirio Pellegrini, born in Rome on March 1,...

A Peek at  Haiti  is a black and white vintage photo, realized in 1960s. Hatian President Francois Duvalier (Papa Doc) spends most of his time at the National Palace in Port au Prin...

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...

Vintage offset print realized after a watercolor by Giorgio de Chirico in 1962. From the rare portfolio "Greek Mythology" realized for IRI and printed by Stab Salomone. Good condit...

Oil on board realized by Sirio Pellegrini in 1974. Hand signed. It includes a tailor-made wooden frame realized by the Artist cm 91x55 Sirio Pellegrini, born in Rome on March 1, 1...

Urban landscape is an oil on board realized by Sirio Pellegrini in 1963. Hand signed and dated. It includes a coeval wooden frame 69.5x89.5 cm. Sirio Pellegrini, born in Rome on M...

Two of the famed Rat Pack are shown here is this playful photograph by Art Shay. Dean Martin carries Frank Sinatra across the stage while the other members enjoy the antics in this ...

Yayoi Kusama Driving Image Show: An impossibly rare 1960s Kusama exhibition poster/brochure, published on the occasion of: Yayoi Kusama at Galleria del Naviglio Milan: Jan. 26-Feb. ...

Artist: Alan Siegel, American (1938 - ) Title: The Throne Year: 1967 Medium: Enamel On Laminated Wood, signed on bottom Size: 40 x 23.5 x 20 in. (101.6 x 59.69 x 50.8 cm)

Une Femme Oil on canvas, mounted on Masonite, 1965 Signed and dated lower right Titled lower right recto Signed with the estate stamp verso: Beni Kosh Collection #118 Condition: Original estate condition Board size: 11 1/8 x 11 1/8 inches Provenance: Estate of the artist Bingham & Vance, Shaker Heights...

Artist: Alberto Giacometti Title: 'Nu Assis' Year: 1961 Medium: Original Lithograph on vélin paper Dimensions: 15in. by 11in. Edition: From the rare limited edition Reference : Lust,...

Artist: Bert Stern Title: Lolita, 1960 Year: shot in 1960, printed at a later date Medium: Color photograph, hand signed and numbered in red ink, also signed in back of piece in blac...

Black and white capture of President John F. Kennedy on an airplane. John F. Kennedy, often referred to as JFK, was an American politician who served as the 35th president of the Un...

Artist: Lawrence Schiller Title: Barbra Streisand, Royal Pavilion, Brighton, 1969 Year: 1969 Medium: Digital C-Print Edition: 4/75 Signed & numbered in ink by the artist. Size: 17x24 inches. Frame Size: 24x35 inches. Condition: In excellent condition Lawrence Schiller is an award-winning photographer, film director, and bestselling author. As a photographer, Schiller photographed important and notorious figures in American history including Marilyn Monroe, Lee Harvey...

Artist: Peter Keil Title: Couple Size: 21 1/2 × 25 1/2 Inches (Framed: 24 1/2 × 28 1/2 Inches) Medium: Acrylic on Board Edition: Original Year: 1969 Notes: Hand Signed and Da...

Hand Signed by Lynn Goldsmith Limited Edition of 20 Lynn Goldsmith's imagery is in numerous collections: The Smithsonian, The Polaroid Collection, The Museum of Modern Art, the Chicago Museum of Contemporary Photography, and the permanent collection of Museum Folkwang. She is a multi-awarded portrait photographer whose work has appeared on and between the covers of Life, Newsweek, Time, Rolling Stone, People, Elle, The New Yorker, etc. Her subjects have varied from entertainment personalities to sports stars, from film directors to authors, from the extra-ordinary to the ordinary man on the street. Her forty years of photography have not only been an investigation into the nature of the human spirit, but also into the natural wonders of our planet. Twelve books of her photography have been published. She has been on The New York Times Best Seller list...

The wonderfully recolored image captures Peter O'Toole in his role as T.T. Lawrence in Lawrence of Arabia. This listing is for a limited edition archival print. What's included: - ...

Burt Lancaster  is a  vintage photo, realized in the 1960s . The artwork is a well-balanced composition.

"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...

Stunning and simplistic portrait of musician Johnny Cash smoking a cigarette and playing guitar outside of Folsom Prison, 1968. Johnny Cash was an American singer, songwriter, music...

This unique black and white portrait features Winston Churchill posed outdoors with a quarter horse. Winston Churchill was a British politician, army officer, and writer, who was Pr...

Le 3 is a contemporary artwork realized in 1968 by Erté (Romain de Tirtoff). Mixed colored lithograph on paper. The artwork is from the Series "Les Chiffres" Hand signed on the lo...

Artist: Alberto Giacometti Title: 'Nu Feminin' Year: 1961 Medium: Original Lithograph on vélin paper Dimensions: 15in. by 11in. Edition: From the rare limited edition Reference : Lus...

Oil on cardboard realized by Sirio Pellegrini in 1961. Hand signed and dated. Includes a wooden frame cm. 68x57. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origin...

Cote D'Azur 1962 stone lithograph After Pablo Picasso Pablo Picasso was a Spanish painter, sculptor, and co-founder of the Cubist movement, which revolutionized European painting ...

Portrait is an original artwork realized by Corrado Cagli in 1968. Black and white lithograph. Hand signed and numbered by artist with pencil. Edition of 8/75. Good conditions ex...

Oil on wooden panel realized by Sirio Pellegrini in 1964. Hand signed and dated. Includes a wooden frame realized by the Artist. cm. 71.5x53.5. Sirio Pellegrini, born in Rome on M...

Oil on canvas realized by Sirio Pellegrini in 1965. It represent the famous "monte dei Cocci" (Mount of Shards) in Rome. Hand signed and dated lower left. Includes a wooden frame ...

Artist: Alberto Giacometti Title: 'Nu' Year: 1961 Medium: Original Lithograph on vélin paper Dimensions: 15in. by 11in. Edition: From the rare limited edition Reference : Lust, 148-1...

Hand Signed by Ken Heyman Limited Edition of ? ...

House in the Countryside - L'Oise is a original pencil drawing on paper, realized around 1960s by the French artist André Roland Brudieux (1921-1999). Monogrammed in pencil "AB“ on ...