1960s Figurative Prints

Salvador Dali - Head of Veal - Original Etching Embossed signature From the edition of 731 Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

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...

In 1968 several of Chagall's poems were published in the album "Les Poemes" (The Poems). He also illustrated this album, featuring a series of 24 woodcuts. Unsigned. From the edi...

To see our other views of London and our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller". Julian Trevelyan (1910-19...

Salvador Dali - Girl and Pig - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum Signed in the plate References : Field 67-4 (p. 3...

Leonard Baskin (American, 1922-2000), Three Surrealist Figural Compositions, Etching on Wove Paper, each marked edition "A.P" lower left and signed in pencil lower right, comprising:...

Linda Stein, Twelve Nudes 360.056 - Contemporary Limited Edition Fine Art Screen Print Linda Stein has been practicing art for the last six decades. This limited edition screen pr...

Leonor Fini - Saturday Night Dress - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, P...

Christo's portfolio of 10 prints and a scale model sculpture of the ‘5,600 Cubic Meter Package’ for Documenta 4 in Kassel, 1968 (height 68 cm). Sold in white vinyl portfolio box. The...

Salvador Dali - Baubo (Woman Riding a Sow), from Faust Embossed signature (from the standard book edition of 731) Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 B / Michler ...

Jean Arp - Original Lithograph 1962 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

First edition, from the edition of 250 copies on Vélin d’Arches from a total edition of 270; large 4to (42.2 x 32 cm); artist’s signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase. Giacometti’s testament to art and modern life in his beloved Paris. For Tériade it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, Paris sans fin, however, said too much to the eye to be in need of other symbols (James Lord...

(after) Constantin (Kostia) Terechkovitch Title: Magical Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis&qu...

Max Ernst - Birds - Original Lithograph Birds, 1962 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Leonor Fini - Duo - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned and...

Kees van Dongen Title: The Models Original Lithograph Edition of 180 Dimensions: 39 x 30 cm References: Juffermans JL 33 Information : This lithograph was created for the portfolio ...

Leonor Fini - Disagreement - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Uns...

Artist: Robert Indiana, American (1928 - 2018) Title: Mississippi from the American Dream Portfolio Year: 1965 (1997) Medium: Serigraph Edition: 395 Image Size: 16 x 14 inches Size: ...

Armand Nakache Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions ...

after Marc CHAGALL (1887 - 1985) Poster for "Les peintres témoins de leur temps Musée Galiera" 1963 Created by Charles Sorlier after Chagall's 1937 painting...

(after) Dunoyer de Segonzac Title: Province Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) André DUNOYER DE SEGONZAC (1884 - 1974) André Dunoyer de Segonzac naît le 7...

Salvador Dali - George Washington - Original Handsigned Etching Dimensions: 38 x 28 cm 1967 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Field 67-3

Lithograph after Jean Cocteau Title: Europe Bridge of Civlizations Signed in the stone Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from th...

Salvador Dali - Enrico Fermi - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Field 70-5

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Salvador Dali - Eye Watches - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Title: Provence Village lithograph in colors after a painting by the artist Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre...

Leonor Fini - Flower Crown - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle ...

Max Ernst - Composition - Original Lithograph 1958 Dimensions: 32 x 24 cm XXe siècle Unsigned and unnumbered, as issued Max Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Leonor Fini - Lovers - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned ...

Salvador Dali - Jonas Salk - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Field 70-5

Leonard Tsugouharu FOUJITA (1886 - 1968) House of Delights Hand-Signed Circa 1960 Edition : EA Dimensions: 37 x 29 cm.

This wonderful lithographic and photographic poster was created as a mixed media to promote an exhibition of Jacques Prévert's surrealist and symbolist...

Original Lithograph by Jean Cocteau Title: Jean Monnet's Vision Signed in the stone/printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edit...

Max Ernst - Birds - Original Lithograph Birds, 1964 (BNF, 63) Dimensions: 32 x 24 cm Revue Art de France ax Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...

Salvador Dali - Nude Ridding - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,...

Marino Marini - Knight - Original Lithograph 1967 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

(after) Robert Delaunay - La Femme et la Tour - Handsigned Lithograph Handsigned and numbered by Sonia Delaunay with a dedication to Robert Delaunay Dimensions: 55 x 33 cm Circa 1960...

After Pablo Picasso - Cubist Still Life - Pochoir Dimensions: 48.5 x 36 cm 1962 Edition of 260 Daniel Jacomet, LEDA, Editions d'Art Pablo Picasso Picasso is not just a man and his ...

Leonor Fini - Sadness - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned...

Salvador Dali - The Crown- from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,5 x ...

Liquitex and pencil on embossed paper. Hand signed, dated and numbered by Wesselmann. This work is number 25 from a series of 27 hand painted, unique variants. Artwork size 14.6 x...

Marino Marini - Knight - Original Lithograph 1968 Dimensions: 32 x 48 cm From the art review XXe siècle Unsigned and unumbered as issued

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

(after) Maurice de Vlaminck Title: Flowers Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) Maurice de Vlaminck (1876 - 1958) Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

(after) Jacques Villon Title: Flowers Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claire...

Rhythmic serenity emanates from this delightful work. Miro creates a quirky yet sophisticated pattern of decorative and playful spots, irregular yet rep...

Title: Europe's Faces printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky 1961 Jean Cocteau Writer, artist and film director Jea...

Original Lithograph by Jean Cocteau Title: Europe's Construction Printed signature in the stone Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky ...

Giuseppe Capogrossi - Original Lithograph Colorful Abstraction 1969 From the art revue XXe Siecle Dimensions: 19 x 12.25 inches Edition: G. di San ...

Artist: Ronald Stein Title: Lessons of the Camp Year: 1967 Medium: Serigraph, signed in pencil Edition: Proof Size: 26 x 40 inches

Alfred Manessier - Original Lithograph Colorful Abstraction 1962 From XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unumbered as issued

Leonor Fini - Walking Dead - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle ...

Lithograph after Georges Braque From the deluxe art review, Derrière le Mirroir 1964 Printed signature Dimensions: 38 x 28 cm DLM No. 148, 1964 Edition: Foundation Maeght at Saint P...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Original Salins Earthenware Plate Artist: Jean Picart Le Doux Title: Sunshine Signed in the back of the plate Dimensions: Diameter: 24 cm Edited by Salins Earthenware Jean Picart le Doux, French (1902 - 1982) Jean Picart Le Doux, born in Paris January 31, 1902 and died in 1982, was a French painter and painter-cartonnier the revival of contemporary tapestry. He is the son of the painter Charles Picart Le Doux (1881-1959). Without specialized training, he made his debut in bookbinding and publishing, and then he turned to advertising and graphic arts and publishing his first works in 1935. His first tapestry dating from 1943 after winning the Grand Prix of the theater poster exhibition in the imaging. He met Jean Lurçat and, with Marc Saint-Saëns, gather around him in 1947 for the Association of painters cardboard tapestry. In 1950, he projects the idea of ​​the Alliance Graphique Internationale, during the meeting with exhibitors of an exhibition of their work in Basel, two other French designers Jean Jacques Colin and Nathan, and two graphic designers Swiss, Fritz Buhler and Donald Brown...