1970s Still-life Prints

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Edition: 5,000 Image Size: 10" x 1...

Artist: Lowell Nesbitt Title: Iris Medium: Screenprint Signed: Hand Signed Edition: From the edition of 175 Year: 1978 Measurements: 24" x 31" Note: This piece is sold unframed...

Artist: Salvador Dali, Spanish (1904 - 1989) Title: Anemone per Anti-pasti (Anemone of the Toreador) Year: 1972 Medium: Lithograph with embossing on heavy Arches paper, signed and nu...

In Molvout, François Houtin merges organic vitality with the crumbling geometry of architecture. The composition presents a fantastical form that seems part tree, part tower, entwine...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 190, published by Aimé Maeght, Éditeur, Paris; printed ...

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: Nadine Prado Title: Flower Bouquet Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 300, 25 AP Paper Size: 30 in. x 30 in. (76.2 cm x 76.2 cm)

Medium: Lithograph on papier bouffant des Papeteries de Casteljoux paper Year: 1970 Paper Size: 12 x 9.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio...

Artist: Jack Brusca, American (1939 - 1993) Title: Magnolia Year: 1978 Medium: Serigraph, signed and numbered in pencil Edition: 200, AP 30 Size: 28 in. x 26 in. (71.12 cm x 66.04 cm)

Flowers is a vintage offset and lithograph artwork on paper realized after Josip Generalic in 1971. Good conditions. Signed on the plate and dated o...

Klaus Fußmann (*1938 Velbert), Gladiolen, 1983. Color etching, WVZ 116.5, 14.5 cm x 18.5 cm (depiction), 20 cm x 21 cm (sheet size), signed “Fuß[mann]” in pencil lower right and insc...

Curtains and Leaves Robert Kipniss, American (1931) Date: circa 1975 Lithograph, Signed and numbered in Pencil Edition of 32/35 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Bodegon by Juan Manuel Gomez-Quiroz, Chilean (1939–2021) Date: 1979 Etching, signed, titled, numbered and dated in pencil Edition of 65 Image Size: 29.5 x 23.5 inches Size: 35.75 x 2...

Ira Moskowitz, Polish/American (1912 - 2001) - L'Amour, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 33 in. x 24 in. (83.82 cm x 60.96 cm...

This serene Mid-Century Modernist Mezzotint Still Life by Tomoe Yokoi originates from the United States, Circa 1970. This quiet scene depicts a still life on a round table with a da...

Hand Signed. Edition of 150 pieces. Excellent condition.

Mary Faulconer, American (1912 - 2011) - Purple Pansies in Cup, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, AP 35, Image Size: 14 x 10 inches, Si...

Mary Faulconer, American (1912 - 2011) - Spring Bouquet, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 30 in. x 22 in. (76.2 cm x 55.88 cm), ...

Artist: Peter Max Title: Flowering Angel Medium: Screen print in colors Date: 1976 Edition: 27/100 Sheet Size: 30" x 23" Frame Size: 37" x 30" Signature: Hand signed in pencil Price ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 210, 1974. Published by Aim...

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...

Medium: Lithograph on vélin d'Arches paper Year: 1971 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Dufresne, VI, Colle...

Buttefly and Knife is an original Contemporary artwork realized in 1970 by the italian artist Leo Guida. Original Etching on Fabriano paper.Image Dimensions: 32 x 25 cm Dated and h...

Original Herman Miller Summer Picnic screen printed lacquer ink and lacquer finish print. August 20, 1971 annual company picnic poster is a...

Apple tree. 1976, linocut, print size 65x50 cm; total 75x60 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The main dire...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Multicolor Iris Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 35/40 Size: 36 x 25 in. (9...

Joan Miro Miro Abstract Lithograph Artist: Joan Miro Plate III from “Miro Lithographs I” Medium: Lithograph on Rives vellum Year: 1972 Image Size: 10" x ...

Framed: 39 3/8 x 30 1/8 x 1 1/2 inches, 3/4 inch face, Wood frame Wayne Thiebaud was born Mesa, Arizona in 1920, and his family soon moved to Los Angeles in 1921. In high school he ...

An etching in red by American pop artist Wayne Thiebaud depicting six Italian desserts. This is #16 from the edition of 50. It is signed and dated in pencil lower right, and numbered...

Ira Moskowitz, Polish/American (1912 - 2001) - Sacre Couer, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 33 in. x 24 in. (83.82 cm x 60.9...

Poster. Measures 33 x 27 in. Unframed. Plate-signed. Copyright 1971 New York Graphic Society, Ltd. Printed in USA. Excellent/Good Condition.

Artist/Designer; Manufacturer: Salvador Dali (Spanish, 1904-1989) Marking(s); notes: signed; ed. 34/195; 1977 Materials: photolithograph and engraving on BFK Rives paper Dimensions (...

Photorealist flower screenprint by American artist Lowell Blair Nesbitt, signed and numbered in pencil. Electric Tulip (Black and White) Lowell Blair N...

Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe IV Year: 1981 Edition: 150 Image Size: 10" x 13"...

Dine, Jim (American, born 1935). YELLOW CALLA LILLIES. D'Oench and Feinberg 19. Etching, soft-ground, drypoint, photogravure and electric tools, with hand-...

Artist: Hunt Slonem, American (1951 - ) Title: Iron Flamingo Year: 1979 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 30 Size: 26 in....

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Edition: 5,000 Image Size: 10" x 1...

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe IV ...

Yayoi Kusama Standing in the Visionary Field (1979). Edition 46/100 Screenprint [13 screens, 13 colors, 13 runs] 40.8 x 52.2 cm (image) 50.8x 65 cm (sheet) Edition of 100 + 10 Artist Proofs Published in 1979 on Hakou-shi paper by Ishida Ryoichi (printer) Provenance: Art Factory Gallery, Setagaya-ku, Tokyo Shinwa Art Auction, Tokyo Publications: A specimen of the same edition is represented in full page at plate 2, page 12 of the Catalogue Raisonné of Kusama's prints: "Yayoi Kusama Prints 1979...

Lowell Blair Nesbitt was an American painter and printmaker who’s work consists of unique and vivid depictions of flowers. Birds of Paradise (Yellow) Lowell Blair Nesbitt, American ...

This exquisite offset lithograph with collage additions after Jasper Johns (born 1930), titled Target, from the album Technics and Creativity, Gemini G.E.L., 1971, originates from th...

Jasper Johns (American, b. 1930) Souvenir I, 1972 Lithograph in Colors on Angoumois a la Main Paper Hand-signed Lower Right Numbered 20/63 and Stamped Lower Left 38.5 x 29.5 inches 3...

ARTIST: Salvador Dali TITLE: Florals Pirate's Gladioli MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 ...

In Trois Plants, François Houtin envisions a fantastical botanical specimen rising like an ornate tower of intertwined foliage and blossoms. Each element—stem, leaf, and tendril—is r...

Paul Cezanne Geranium pots, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 53.5 x 41.5 cm (c. 21 x 16.5 in) INFORMATION : ...

This exquisite lithograph after Alberto Giacometti (1901–1966), titled Fleurs (Flowers), originates from the 1972 edition published by Editions A. C. Mazo et Cie., Paris, in collabor...

Henry Evans (1918-1990) Pinot Chardonnay Print signed, numbered 103/160, dated 1974 Light exposure, adhesive in the corners 50.5 x 33 cm

ARTIST: Salvador Dali TITLE: Florals Carnation Keys MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBER: 62/350 ME...

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...

Jim Dine drew the plate for this image in the same period as his “Thirty Bones of My Body” 1972 portfolio of drypoint tool images. Crisbrook paper (30 x 22 in. / 76.2 x 56 cm.) and p...

In Portrait #1, François Houtin transforms botanical motifs into an elaborate fantasy of form and texture. Using fine, rhythmic lines, he constructs an imaginary figure that feels pa...

Future Garden is an original screen print realized by Leo Guida in 1976. Hand signed and dated. Edition of 50. Excellent condition. Leo Guida  (1992 - 2017). Sensitive to current...

Artist: Peter Max (1937) Title: Garden Flowers & Vase of Flowers (Two Artworks) Year: 1979 Edition: 347/350, plus proofs; 143/350, plus proofs Medium: Lithograph on Somerset paper Si...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 200, 1972. Published by Aim...

ARTIST: Salvador Dali TITLE: Florals Tiger Lilies of The Theatre MEDIUM: Etching SIGNED: Hand Signed by Salvador Dali PUBLISHER: Editions Graphiques Internationals EDITION NUMBE...

Image dimensions: 24.5 x 33.5 cm. Bottles Composition is an original offset print, reproducing the original watercolor by Giorgio Morandi. Signature by the artist is perfectly repr...

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left with edition number and limitation, '115/170'. Pierre Garcia-Fons left Spain d...

Paul Cezanne The green jug, 1971 Lithograph and stencil (Jacomet workshop) Unsigned Numbered / 225 On paper applied on Arches vellum 41.5 x 53.5 cm (c. 16.5 x 21 in) INFORMATION : ...