Saul Steinberg

"Derriere Le Miroir, " Three Original Color Lithographs by Saul Steinberg

1977

In this lithograph, Georges Schreiber focused on the thrill of the circus, taking its circular composition from the central ring. Here, acrobats perform amazing feats of agility on t...

The present print, "Victoria," is the most iconic example of the printmaking of Malvin Marr Albright, called Zsissly. The composition for the image comes from Albright's painting from about 1935, done while he was studying at the Art Institute of Chicago. We can see clearly in the image how he possesses the same skill for unsettling, magic realist images as his more famous twin brother Ivan Le Lorraine: The lady Victoria sits at a dining room table, surrounded by luxurious still-life objects. All the textures and surfaces of the image express a horror vacui as seen in his painted works, such as "The Trail of Time is Dust" at the Pennsylvania Academy of Fine Art. The door in this print recalls one of the more famous works by his brother, "That Which I Should Have Done I Did Not Do (The Door)" at the Art Institute of Chicago. 1947, after ca. 1935 original painting 8 1/2 x 13 inches, image 12 x 16 inches, sheet 16 1/4 x 20 1/2 frame Signed in pencil, lower right Title in pencil, lower left Published by Associated American Artists Inc. Unnumbered from the edition of 250 A painter and sculptor, Malvin Albright was born in Chicago, one of twin sons of Adam Emory Albright, famous Chicago figure painter of juvenile subjects, who often used Malvin and his brother Ivan Le Lorraine as models. Malvin's middle name, Marr, was after Wisconsin artist Carl von Marr...

'Lobsterman's Wharf, Maine' is an original lithograph signed by Malvin Marr "Zsissly" Albright. While Malvin Marr – along with his better-known identical twin Ivan Albright – was known for his meticulous and unsettling magic realist compositions, he and his brother were also prolific in capturing landscapes of the coast of Maine where the two spent several consecutive summers away from Chicago over their lives. Sometimes these Maine landscapes and views would be painterly and seemingly antithetical to the careful realism of his other work; but in this example, however, the wharf is treated with the same macabre decay as his human subjects. In the composition, the shack...

"Two Days of Childhood That are Still Unexplained" from "For the Sake of a Single Verse" is an original lithograph signed in the lower right by the artist Ben Shahn. It depicts six female figures in long coats. One group is silhouetted in blue and the other in a pastel purple. 22 1/2" x 17 5/8" art 32 3/4" x 28" frame Ben Shahn (American, September 12, 1898 - March 14, 1969) was a painter, lithographer, and photographer best known for his left-wing political leanings, works of social realism, and The Shape of Content, a publication of his lectures. Shahn was born in Kovno, Lithuania, when the country was still occupied by the Russian Empire. In 1902, Shahn's father, Joshua Hessel, was exiled to Siberia. Shahn then moved to Vilkomir, Lithuania, with his mother, Gittel, and his two siblings. Their family moved to the United States in 1906 to join their father who had fled from exile. After settling in Brooklyn, NY, Shahn began to train in lithography and graphic design, and his favorite medium was egg tempera. In 1919, Shahn enrolled in New York University to study Biology before entering the City College in 1921 to study Art. He also studied Art at the National Academy of Design. In the 1920s, Shahn and his wife traveled around Africa and Europe to study the works of renowned artists such as Pablo Picasso (Spanish, 1881- 1973) and Raoul Dufy (French, 1877-1953). In 1933, Shahn worked as an assistant of Diego Rivera (Mexican, 1886 - 1957); at this time, Rivera was working on the mural at the Rockefeller Center in New York. Two years later, Shahn was recommended by Walker Evans (American, 1903 - 1975) to join the Farm Security Administration photographic group. One of the artist’s most famous works is the fresco mural he did for the Jersey Homesteads' community center. Shahn also worked on murals for the state on the Federal Security Building and the Bronx Central Annex Post Office. During the Second World War, Shahn made a series of paintings laced...

In 'The Rabbit,' Wisconsin artist Clarice George Logan presents the viewer with a multi-figural scene: under a wood-frame structure, four children crouch on the ground, gathered around a young woman who presents a rabbit. Under normal circumstances, such an image of children with a bunny would recall childhood storybooks. In this case, however, the image is more ambiguous and suggests the unfortunate economic circumstances many children suffered during the interwar years. Nonetheless, the group could also be interpreted as a nativity play, with the rabbit taking the place of the Christ child, shining light on the children like in a painting by the Italian Renaissance artist Correggio. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints - one for each week of the year. Clarice George Logan was born in Mayville, New York in 1909 but moved to Wisconsin in 1921. She attended the Milwaukee State Teachers College from 1927 to 1931 where she studied with Robert von...

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

Akio Takamori Fruit Tree, 1993 Medium: 4 Color Lithograph Edition: 30 Paper: Rives BFK, White Paper Size: 33.5″ x 15″ Image Size: 29.5″ x 11″ Signed, dated, numbered and inscribed by...

Hugh Masekela, The Father of South African Jazz - Signed Lithograph Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a s...

"From John to John" - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a semi-abstracted style, depicting John F. Kennedy, Jr. saluting his father. Titled, numbered, dated, and signed along the bottom edge: "From John to John litho #46/50 Jan 64 Eugene Hawkins, Legend #412" Presented in a new black mat. Mat size: 20"H x 16"W Image size: 15"H x 11"W Eugene Hawkins (American, b. 1933) is a BIPOC artist...

"Birmingham School Girl" - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a semi-abstracted style, a young, black school girl is distressed and crying on her knees with her books and lunch in hand. Titled, numbered, dated, and signed along the bottom edge: "Birmingham school girl litho #4 May 1963 Eugene Hawkins, Legend 412" Presented in a new black mat. Mat size: 18"H x 14"W Image size: 11.25"H x 8.75"W Eugene Hawkins (American, b. 1933) is a BIPOC artist...

"And Search for Peace" - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a semi-abstracted style, a young, black boy holds out his arm for a dove, the symbol of peace to land. Titled, numbered, dated, and signed along the bottom edge: "and search for peace litho #22/50 Jan 64 Eugene Hawkins, Legend #412" Presented in a new black mat. Mat size: 18"H x 14"W Image size: 11"H x 8.75"W Eugene Hawkins (American, b. 1933) is a BIPOC artist...

"The Little One" - Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). A young child is kneeling, facing away ...