George L.K. Morris Art

Marcel Mouly (French 1918 - 2008) Untitled lithograph on woven paper with deep saturated colors in excellent condition. Well framed under plexiglass with a double matt, signed lowe...

"Scalloped Basket" is a stoneware piece with the decorative layer of the rich toned glazes and markings that John was so well-known for. He was, also, known for the undulating lip lines on his exquisite pieces. The basket portion is shaped with gentle curves and a sculptural handle. Each piece that John produced was unique. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This particular "basket" also has the cool blues and grays that contrast with the umber. It is signed and stamped on the bottom. John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

Donald Stacy "Forest Through the Window" c.1950s Oil pastel and gouache paint on paper 14" x 17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art...

Erte (Romain de Tirtoff) 1892-1990 Russian/French. Diva Suite - Diva I & Diva II, both embossed serigraphs with foil stamping. These two large examples of...

Donald Stacy "Mound Street" c. 1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate For sale is a striking black and white painting titled "Mound Stre...

JAMES ROSENQUIST "Ten Days, from The New York Collection for Stockholm" Lithograph in colors on paper,1973 9 x 12 inches (22.9 x 30.5 cm) (sheet) Ed. 114/300 Signed, numbered, and d...

Edward Avedisian ( 1936-2007 ) Gouache or oil on paper, 3 guys around a car, hand signed in paint lower left, Measures 30"x 22.5" Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction and Abstract Expressionism. He studied art at the School of the Museum of Fine Arts, Boston. By the late 1950s he moved to New York City. Between 1958 and 1963 Avedisian had six solo shows in New York. In 1958 he initially showed at the Hansa Gallery, then he had three shows at the Tibor de Nagy Gallery and in 1962 and 1963 at the Robert Elkon Gallery. He continued to show at the Robert Elkon Gallery almost every year until 1975. During the 1960s his work was broadly visible in the contemporary art world. He joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists, such as Darby Bannard, Kenneth Noland, Jules Olitski, and Larry Poons. Avedisian was among the leading figures to emerge in the New York art world during the 1960s. An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, he was instrumental in the exploration of new abstract methods to examine the primacy of optical experience. One of his paintings was appeared on the cover of Artforum, in 1969, his work was included in the 1965 Op Art The Responsive Eye exhibition at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought after by collectors and acquired by major museums in New York and elsewhere. He has been exhibited in prominent galleries, such as the Anita Shapolsky Gallery and the Berry Campbell Gallery in New York City. Edward Avedisian was known for his brightly colored, boldly composed canvases that combined Minimalism's rigor, Pop art exuberance and the saturated tones of Color Field painting. Roberta Smith of the NYT writes of Avedesian: "Edward Avedisian helped establish the hotly colored, but emotionally cool, abstract painting that succeeded Abstract Expressionism in the early 1960s. This young luminary harnessed elements of minimalism, pop, and color field painting to create prominent works of epic proportions that energized the New York art scene of the time." In 1996 Avedisian showed his paintings from the 1960s at the Mitchell Algus Gallery, then in SoHo. His last show, dominated by recent landscapes, was in 2003 at the Algus gallery, now in Chelsea. Selected Exhibitions: Op Art: The Responsive Eye, at the Museum of Modern Art, Whitney Museum’s Young America 1965 Expo 67, held in Montreal, Canada. Six Painters (along with Darby Bannard, Dan Christensen, Ron Davis...

Donald Stacy "Sitting in Chair" c.1950s Gouache and oil pastel on paper 24" x 18" unframed Came from artist's estate *Custom framing available for additio...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA CHAINE SIMPSON" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, from issue #60, 1900. Plate #238 Unframed Size: 11 3/8 x 15 3/4” The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. "In her recent excellent biography of Lautrec, Julia Frey indicates that 'Henry, the frustrated athlete, was compulsively familiar with the vocabulary and technical aspects of a variety of sports in which he could participate as a spectator: horse and bicycle racing, wrestling, yachting, bullfighting. He watched them all with the same intensity that he watched a line of dancers or a circus bareback rider, attracted by the beauty of movement, but also by the smells, sounds and excitement of the spectacle (Frey, p.353) His 'insider' knowledge of the cycling field shows up abundantly in this poster for the French agent of the Simpson bicycle chain company. In the foreground is the champion cyclist Constant Huret. In the background are Tristan Bernard, the sports impresario who was a close friend of Lautrec, with Louis Bougle, the French agent who adopted the name 'Spoke.' A touch of levity is added by what appears to be a 'bicycle-built-for-ten' in the upper-left corner, in fact it's two five-seaters, known at the time as 'quints.'"(Rennert, PAI-XXII, 35)Henri de Toulouse-Lautrec came from an aristocratic background, having been born the son of an earl.Even as a schoolboy he showed a talent for drawing. By 14 he had suffered two horse back riding accidents, combined with a serious bone disease which eventually left him crippled for life. His body continued to grow but not his legs, he would remain only five feet tall and suffer pain and embarrassment his entire life.At the age of 18, Lautrec moved to Montmartre in Paris to study art seriously. He worked with artists Louis Anquentin, Emile Bernard, Degas, Van Gogh and others. He became a frequenter of the the cafes, cabarets and brothels of the neighborhood, drawing from them inspirations for his artistic themes. As the artist's stature grew, several magazines wanted to publish his work, including Le Rire. His subjects, as well as street life, included some of the most famous music-hall performers, with whom he became friends, such as Yvette Guilbert, La Goulue Jane Avril, May Milton, May Belfort...

"The Vendor of Masques", 1930s modernist painting by Boardman Robinson (1876-1952) of a Mask vendors display with male and female figures (lik...

ROSENQUIST, JAMES (1933 - 2017) F-111 (Castelli Gallery Poster) Offset Lithograph c. 1965 Signed and dated in pencil along lower edge Sheet Size: 28” x 22”, Fresh ...

Donald Stacy "Two Trees" c.1950s Gouache on paper 24" x 18" unframed $950 Unsigned Came from artist's estate *Custom framing available for additional char...