Alberto Savinio Art

Strong and vibrant color lithograph by the American artist, Benton Murdoch Spruance. Edition size in pencil lower left margin 7/40. Titled in pencil middle margin and signed in penc...

Fina Miralles (Spain, 1950) 'Café', N/A lithograph on paper 27.6 x 20.5 in. (70 x 52 cm.) ID: MIR1346-001-000 Hand-signed by author _____________________...

Fahamu Pecou Bag of Tricks, 2015 Lithograph 28 x 22 inches (71.1 x 55.9 cm) Edition 113/150

Figurative drawing of two male nudes made with graphite, charcoal, and conte crayon on Arches paper 30 x 14 inches, unframed This unique life study drawing of two standing nude m...

This is a unique artwork. This is an original Hyman Bloom drawing of fellow artist and his very good friend Martin Sumers.I believe this was drawn at the “variations of a theme” at Sumers gallery in NYC. The last two photos show a poster and a card from their shows. it is not included in this listing, it is just for provenance. Provenance: Acquired from the Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

Unknown Artist, French School 18th Century, Circle of Mallet? Scene taken from the Decamerone. Old Master Drawing

Strong and vibrant color lithograph by the American artist Benton Murdoch Spruance. Edition size in pencil lower left margin Titled in pencil middle margin and signed in pencil lower...

Nelson Dominguez (Cuba, 1947) 'Untitled', 2003 lithograph on paper Guarro Super Alpha 250g. 14.7 x 15.9 in. (37.2 x 40.2 cm.) Edition of 17 ID: DOM-30...

Martin Puryear Los Angeles Olympic Games 1984, 1982 Offset Lithograph on Parsons Diploma Parchment Paper Hand signed on the front with COA, Edition of 750 (though only approximately ...

Pen and ink on paper, laid down on canvas, mounted to wooden scroll bars Signed and dated lower right: “Drawn by N. B. Rogers August. 1843” Inscribed with an ownership inscription on the verso: Rev. E. D. Daniels, Palmer, Mass. Provenance: Rev. Eugene Davidson Daniels, Palmer, Massachusetts, 1871 This extraordinary manuscript map is a rare survivor of the devotional and educational culture of New England in the first half of the nineteenth century. Although at first glance resembling a large-scale engraving or printed publication, this precisely rendered wall map was entirely drawn by hand, the product of meticulous research by a minister working in isolation in rural Maine. The map shows New Testament era cities, towns, tribal areas, and political borders as well as physical features such as rivers, lakes, mountains, and hills (indicated by half-tone cross-hatching). On to this geographically accurate rendering of the Holy Land, Rogers has located and inscribed significant locales mentioned in the Gospels and has annotated these places with relevant citations from the Bible. He further records these by plotting the travels of Jesus on what resemble a series of trails across the Holy Land. Each is distinguished by a different pattern of dots and dashes – correlated to an explanatory table at the lower right. From this we know that these lines document the “Flight into Egypt and return,” “Travels of Christ from Nazareth to Jerusalem and return,” “Travels from the commencement of his Ministry to the first Passover,” “Travels from the first and the second Passover,” “Travels from Jerusalem to Galilee after the 2nd Passover,” and “Travels from the third Passover to the Crucifixion.” An inset map of “Jerusalem...

This peaceful, idyllic scene is a perfect example of works published by Associated American Artists in the 1940s -- an American subject, drama-free, and masterfully drawn. It was iss...

Description: People have collected autographs of notables for hundreds of years. The desire to have a personal memento from a famous and or important artist drives the collecting field. The top rung of the ladder, in terms of popularity, is a relatively small group of artists called ‘icons’. These are people who’s names and images stay with us, appearing with regularity in our culture. The 20th Century Masters such as Chagall, Picasso, Matisse, Miro, Dali and more recently, Warhol fit this description. The renowned French printer, Fernand Mourlot, printed many of the original posters for the most important artists of the day. In 1959 the studio printed the series Affiches Originales for collectors. They are reduced lithographic versions of the original posters created by the contemporary masters, Picasso, Chagall, Braque, Matisse, Miro, Leger, and Dufy. This announcement was for an Easter exhibition in the city of Vence. This very rare and desirable 1959 Mourlot poster, of which only 1500 were printed and only a handful known to have been signed, has been signed in pencil by the artist, Marc Chagall. The original larger poster...