1970s Abstract Prints

A Feminine Thought (portfolio), 1971 Plate 11.6 x 9.6 in. / 29.5 x 24.5 cm Paper 27.2 x 20.9 in. / 69 x 53 cm 2 prints in portfolio with label, intaglio printing (drypoint) in dark g...

"Rainbow-man," an abstracted Mexican figurative woodblock by Pedro Puerta (Mexican, 20th Century), 1974. Titled "Rainbow-Man" lower left and "from a Michoacan Pot" "Reproduced with a...

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 ...

Joan Miró - Maravillas con variaciones acrósticas en el jardín de Miró XIII Date of creation: 1975 Medium: Lithograph on Gvarro paper Edition: 1500 Size: 49,5 x 71 cm Condition: In v...

Gianfranco Pardi (Italian, 1933-2012), "Architettura" [Architecture], Lithograph in Colors, 1974, depicting a geometric composition in red and white, signed in pencil, dated, and num...

Robert RAUSCHENBERG Cardbirds, 1972 exhibition, rare original poster For the exhibition "Cardbirds" at the Sonnabend Gallery Signed in the plate framed in walnut. 21 x26.5" framed. ...

Joan-Pere Viladecans (Spain, 1948) 'Entrebanc 4', 1974 lithograph on paper 22.1 x 30 in. (56 x 76 cm.) Unframed ID: VIL1324-004-000 Hand-signed by author

Artist: Gilou Brillant (1935- ) Title: Untitled Year: 1975 Medium: Aquatint Etching with Carborundum, signed in pencil Size: 22 in. x 30 in. (55.88 cm x 76.2 cm) Frame Size: 29 x 3...

Psaltery, 2nd Form Mark Tobey, American (1890–1976) Date: 1974 Etching on Japon, signed and numbered in pencil Edition of 107/150 Image Size: 14 x 11 inches Size: 26.5 in. x 20 in. (...

This exquisite lithograph after Joan Miro (1893–1983), titled Sans titre (Untitled), from the folio Tapis De Tarragona, illustrations, Joan Miro (Tarragona Tapestry, Illustrations), ...

Lithograph, 1974 Handsigned by the artist in pencil and numbered 70/75 75.50 cm. x 65.50 cm. 29.72 in. x 25.79 in. (paper) 60.00 cm. x 42.50 cm. 23.62 in. x 16.73 in. (image) Our ...

Lithograph Handsigned by the artist in pencil and numbered 43/75 74.00 cm. x 56.00 cm. 29.13 in. x 22.05 in. (paper) 58.50 cm. x 47.50 cm. 23.03 in. x 18.7 in. (image) Certificate ...

Artist: Kyohei Inukai, American (1913 - 1985) Title: Untitled - Target I Year: circa 1970 Medium: Silkscreen, signed and numbered in pencil Edition: 100 Image Size: 21.5 x 26 inches ...

Artist: Ellsworth Kelly (American, 1923-2015) Title: “Blue/Red-Orange” *Signed by Kelly in pencil lower right Year: 1972 Medium: Original Lithograph on Special Arjomari paper Limited...

Raoul Ubac Title: Untitled Composition Medium: Color Lithograph Year: 1972 Size: 14.9 x 21.8 inches Notes: Centerfold and verso printed as published Publisher: Maeght, Paris Unsigned...

Reuven Rubin, Israeli (1893 - 1974) - The Prophets, Medium: Poster, Size: 30 x 20 in. (76.2 x 50.8 cm), Description: Exhibition poster of expressionist painting with fiery color ...

Antoni Tapies (Spain, 1923-2012) 'Scotch', 1974 lithograph on paper 35.5 x 24.9 in. (90 x 63 cm.) Edition of 120 Unframed ID: TAP1162-032 Hand-signed by author Cat. Galfetti, nº 393 ...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

ARTIST: Salvador Dali TITLE: Time American Clock MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine, New York EDITION NUMBER: EA ME...

Joan Miró (Spanish, 1893-1983) "Personatge I Estels II," 1979 Etching, aquatint in colors with embossing on Arches wove paper Signed in pencil lower right, numbered 26/50 lower left ...

R.B. Kitaj (British American 1932-2007) Hand signed and numbered Screenprint This is from the Robert Creeley daybook. They were done in a variety of mixed media including serigraph, ...

Artist: Karel Appel (1921-2006) Title: Moving the Wind Year: 1974 Medium: Silkscreen on Somerset paper Edition: 88/110, plus proofs Size: 27 x 39.25 inches Condition: Good Inscriptio...

Vertical lines in muted colors take on the organic quality of handmade paper, resulting in this subtle iteration of Gene Davis’ iconic color field stripe paintings. The title "Narcis...

Decalogue is a vintage Poster, realized by Lucio Del Pezzo in 1976. The status of preservation is very Good.

Robert Motherwell, American, 1915-1991 St. Michel III 1979 Lithograph and Screenprint On handmade paper Hand signed in white pencil and numbered 71/99. Dimensions: Sight 40 3/4 x 32 ...

ANCIENT SCRIPT by the Israeli artist Moshe Castel (1909-1991) is an original etching and aquatint printed in colors with carborundum using traditional hand intaglio techniques on arc...

Lithograph on cardboard realized by Alexander Calder in 1976, in occasion of his solo exhibition at Galleria Rondanini, Rome. Not signer nor numbered, as issued. Excellet condition.

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

A very good impression of this color screenprint on Arches. Signed, dated and numbered 125/150 in pencil by Gottlieb. Printed by Kelpra Studio, London, with the ink stamp verso. Publ...

Artist: Josef Albers Title: Homage to the Square (double) from the Portfolio: Formulation: Articulation (Double Portfolio) Year: 1972 Medium: Screenprint on Mohawk Superfine Bristol ...

“Homage to the Square - Portfolio 1, Folder 23, Image 2 “ from the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 orig...

Marie Therese Vacossin Geometric Composition Medium: Colour Silkscreen Year: 1979 Signed, dated, titled, numbered or inscribed Edition: 15 Size: 8.2 × 8.2 on 14.0 × 13.3 inches COA ...

NIGHT ANIMAL is an original limited edition lithograph by the Dutch artist Karel Appel on printed using traditional hand lithography techniques on archival printmaking paper, 100% ac...

Roland Martin Abstract Geometric Composition Medium: Color Silkscreen Year: 1972 Signed, numbered and dated by hand Edition: 15 Condition: Minor Defects Size: 23.2 × 16.4 inches COA provided Roland Martin (born July 29, 1927 in Tuttlingen ) is a German sculptor . As a 16-year-old Martin was used in 1943 as a Luftwaffenhelfer, towards the end of the war he was taken prisoner. From 1946 to 1951 he studied at the Bernstein School in Glatt with Hans Ludwig Pfeiffer and Paul Kälberer In 1950 he was for a short time at the State Academy of Fine Arts Karlsruhe, Field Office Freiburg in Freiburg im Breisgau with Wilhelm Gerstel, from 1951 to 1952 he was a student of Fritz Nuss. Since 1952 Martin works as a freelance sculptor in Tuttlingen. Among his students is Jörg Bach...

A silkscreen print by Ilya Bolotowsky circa 1970. A retro modern piece with an abstract geometric design. Artist: Ilya Bolotowsky, Russian/American (1907 - 1981) Title: Series 1 Ye...

This exquisite lithograph by Alexander Calder (1898–1976), titled Les Trois Visages (The Three Faces), from the folio Derriere le miroir, No. 221, originates from the 1976 edition pu...

Artist: Nicholas Krushenick Title: Silver Image Year: 1979 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 30 Paper Size: 32 x 26 inches (81.28 x 66.04 cm)

Teal, brown and blue tone abstract figurative original print by Amado Maurilio Pena. The piece depicts five women figures that either appear back-to-back or fa...

Artist: Gene Davis (American, 1920-1985) Title: "Yankee Doodle" *Signed and numbered by Davis in pencil lower right Year: 1972 Medium: Original Screenprint on wove paper, laid down t...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Black Earth Year: circa 1979 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 75, AP Image Size: 20 ...

Titre : Leonor Fini, Princess, circa 1970 Texte : Rare print handsigned and numbered by surrealist artist Leonor Fini, inscreasingly esteemed with the movement of rediscovering art...

Artist: Joan Miro Title: Plate XI Portfolio: Lithographe I Medium: Lithograph Date: 1972 Edition: Unnumbered Frame Size: 18 1/2" x 16" Sheet Size: 12 1/2" x 10" Image Size: 12 1/2" x...

Artist: Jose Guinovart, Spanish (1927 - 2007) Title: New York Year: 1984 Medium: Lithograph, signed and numbered in pencil Edition: 99, EA Paper Size: 27 x 22 in. (68.58 x 55.88 cm)

This beautiful modernist aquatint etching was realized by the esteemed Indian artist Kaiko Moti, circa 1975. It offers an abstracted and stylized tree branch (presumably that of a Ch...

Joan Miro, Spanish (1893 - 1983) - Lithograph I (1256), Year: 1975, Medium: Lithograph, Size: 12 x 9.5 in. (30.48 x 24.13 cm), Frame Size: 22 x 18 inches, Printer: Mourlot, Pari...

Abstract Composition is a colored screen print realized by the contemporary artist Giulio Turcato. Hand-signed in pencil on the lower right. Numbered on the lower left margin, edit...

Robert Savoie, Canadian (1939 - ) - Blue Streaks, Year: 1976, Medium: Etching on BFK Rives, signed, numbered and dated in pencil, Edition: 38/50, Image Size: 17.75 x 19 inches, Siz...

This exquisite lithograph by Alexander Calder (1898–1976), titled Sans titre et Les Trois Visages (Untitled and The Three Faces), from the folio Derriere le miroir, No. 221, originat...

Joan Miro, After, Spanish (1893 - 1983) - The Cascade from Indelible Miro, Year: 1972, Medium: Offset Lithograph, signed in the plate, Size: 14 x 9.75 in. (35.56 x 24.77 cm), Fr...

"Baby Dragon Dreams" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper depicting ascending figures by Jim Crabb (American, b. 1947). The figures are made up ...

Roberto Antonio (Echaurren) Matta (1911 - 2002) "Driote Liberees" Etching & Aquatint on Japon Nacré Paper. Signed in pencil and numbered 73/100. Published and printed by Georges Visat...

Alexander Calder (American, 1898-1976) “Seascape”, 1974 Lithograph in Colors on Wove Paper Signed: Calder (Lower, Right) Sheet Size: 39 3/5 × 28 in Marked “EA”, apart from an editio...

Abstract Composition  is a lithograph realized by Piero Sadun in the 1970s. The state of preservation of the artwork is good.

Artist: Stanley Hayter, British (1901 - 1988) Title: IV from the Aquarius Suite Year: 1970 Medium: Screenprint, signed and numbered in pencil Edition: 150; AP XXX Paper Size: 27 x ...

Hand signed and numbered lithograph in colors on Arches paper. Mourlot 1025. Published by Maeght Éditeur, Paris. Edition of 27/30. Artwork size 91.375 x 47.875 inches. Custom framed ...

Jorge Machold (1940 Chemnitz - 2015 Berlin), Untitled, 1973. Color etching, 41.5 x 29.2 cm (plate size), 49.5 cm x 39.5 cm (sheet size), signed lower right in lead “J.[orge] Machold”...

Marc CHAGALL Couple with a goat Original stone lithograph (atelier Mourlot) Edition size: 3,000 (plus the signed and numbered edition of 50 with larger margins) Unsigned On light ve...

From the portfolio “Formulation: Articulation” created by Josef Albers in 1972. This monumental series consists of 127 original silkscreens that are a definitive survey of the artist...

Nikolaus von Georgi Untitled (Geometric Composition, Vasarely, Op-Art) Color Offset Lithograph Year: 1978 Size: 19.7×23.6 on 23.6×27.6in Edition: 180 Signed, numbered and dated by ...

Image dimensions: 33.5 x 47.5 cm. Le Lézard aux Plumes d'Or is a beautiful color lithograph on tissue paper, realized in 1971 by the Spanish Surrealist artist, Joan Mirò (Montroing ...