• Cover of Art and Artists, Volume One Number Three, June 1966, Venice Biennale Number, showing a close-cropped reproduction of Roy Lichtenstein's comic-book painting of a blonde woman's face with Ben-Day dot shading, red lips, and a striped ribbon in her hair, with the masthead ART and artists in large black sans-serif type at top, and VENICE BIENNALE NUMBER in bold black capitals below, priced 4s $1.
  • Interior page from Art and Artists, June 1966, showing a colour plate reproduction of Helen Frankenthaler, Sun Dial, 1963, 64 × 64 inches, Abbot Hall Gallery, Kendal, depicting an abstract field painting with yellow, green, red, and blue stained washes on a pale ground, printed on cream paper with caption below.
  • Interior spread from Art and Artists, June 1966, pages 12–13, showing the opening of the feature "Lichtenstein: The Printed Image at Venice," with a black-and-white reproduction of Drowning Girl, 1963, oil on canvas, collection Mr and Mrs C.B. Wright, showing a woman's face submerged in stylised waves with a speech bubble reading "I DON'T CARE! I'D RATHER SINK THAN CALL BRAD FOR HELP!," alongside critical text in two columns.
  • Interior spread from Art and Artists, June 1966, pages 8–9, showing the "In View" column with two black-and-white installation photographs: top image showing Peter Phillips, XX, 1965, at Kornblee Gallery, New York, and bottom image showing Gerald Laing, 1966, at Richard Feigen Gallery, New York, alongside a column of critical text discussing the New York gallery scene and the Venice Biennale.
  • Interior spread from Art and Artists, June 1966, pages 24–25, showing the feature "Anthony Caro at Venice," with a colour reproduction of Yellow Swing, 1965, painted steel, 71 × 74 × 160 inches, Tate Gallery, depicting a large abstract steel sculpture of yellow beams and a diagonal element on a wooden floor, alongside critical text in two columns discussing Caro's relationship to American sculpture and Clement Greenberg.
  • Interior spread from Art and Artists, June 1966, pages 34–35, showing the feature "Our Period Style," with a black-and-white photograph captioned "Andy Warhol, View of Exhibition, Clouds, 1966, Leo Castelli Gallery," showing silver helium-filled pillow balloons floating in a gallery space, alongside a black-and-white photograph of Carl Andre, Untitled, 1966, Limestone bricks, at Tibor de Nagy Gallery, with critical text on Primary Structures and the New York sculpture scene.
  • Reverse of Art and Artists, June 1966, showing a full-page advertisement for Rowney Cryla Colours, a range of acrylic artists' paints, with product descriptions and a list of Rowney stockists, printed in black and white on cream paper, with light age toning and edge wear consistent with the magazine's vintage condition.
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Art and Artists

Art and Artists — Vol. 1, No. 3, June 1966 (Venice Biennale Number)

Art and Artists — Vol. 1, No. 3, June 1966 (Venice Biennale Number)

£65.00 GBP
£65.00 GBP
Sale Sold out
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Magazine, 21 × 28 cm, 90 pages, illustrated throughout in black-and-white and colour, softcover with original wrappers. Good vintage condition: light creasing, edge wear, rubbing, minor tears to the spine, and age toning throughout. Original Rowney Cryla Colours advertisement to rear cover. Internally clean and complete. Wear consistent with a magazine that has been read, stored, and retained for nearly sixty years.

A landmark early issue of Art and Artists, the influential British magazine founded by Mario Amaya in 1966. Published to coincide with the 33rd Venice Biennale, this special Venice Biennale Number captures a pivotal moment when Pop Art, Minimalism, Colour Field painting, and New York’s expanding influence were reshaping international contemporary art.

The striking cover reproduces Roy Lichtenstein’s comic-book imagery, signalling the arrival of Pop Art as an international language rather than a purely American phenomenon. Inside are substantial features on Lichtenstein, Anthony Caro, Andy Warhol’s Clouds, Helen Frankenthaler, Peter Phillips, Gerald Laing, Carl Andre, and the growing presence of American artists in Venice. The issue also reflects on the changing relationship between galleries, museums, and the international exhibition circuit during one of the defining decades of post-war art.

Rather than functioning as a conventional exhibition catalogue, this magazine documents contemporary art while it was still becoming history. It records artists before their market canonisation and captures critical debates surrounding Minimalism, Pop, and abstraction as they unfolded in real time. Today, these early issues have become increasingly desirable as primary source material for collectors, curators, and researchers interested in the emergence of the contemporary art world.

Complete early issues of Art and Artists in presentable condition have become steadily less common, particularly special editions devoted to major international exhibitions such as the Venice Biennale. Their significance has grown alongside renewed interest in post-war art publishing and the magazine culture that shaped critical discourse during the 1960s.

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