Giorgio De Chirico Portrait Prints

After PABLO PICASSO (1881-1973) FROM THE ROUND OF FRIENDSHIP 25.7.1961 Dimensions: 63.5 x 49.8 cm Signed and dated in the plate Color lithograph on Velin D'Arches realized from a dra...

Rare Original limited edition lithograph, printed by Mourlot in Paris, France on vélin du Marais watermarked paper. this is not signed as issued. This is from a signed and numbered ...

Rare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual sheets are not hand signed and numbered. Francois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons at the same time. In 1943, during her first exhibition in Paris, Gilot (then 21) met Pablo Picasso (who was 61) for the first time. In 1946, Gilot started a 10-year relationship with the notorious womanizer and had two of his children,Claude and Paloma. As a result of her relationship with Picasso, Gilot "became both a witness and a participant in one of the last great periods of the modern art movement in Europe. Their circle included poets, philosophers, writers, and many of the legends of the art world, such as Braque, Chagall, Cocteau and Matisse. In 1953, Gilot left Picasso and the home they shared in Vallauris and moved back to Paris. "Lithographs are printed from stones and each stone is an echo of my artistic voice," said Gilot. "Many artists use their art as a personal catharsis. I have never done that. I am more intellectual. Each artistic process -- oils, lithographs, monotypes -- allows me a different freedom and suits a different mood." While Gilot did her first lithograph in 1950 at the Mourlot Atelier, the same studio used by Picasso, Henri Matisse, Marc Chagall, Jean Miro and Jean Dubuffet, it was in the 1970s that she really began to experiment with the process. "In the beginning I turned to lithography because I wanted to show off my technical skills. Now I am more interested in color," said Gilot. "I also thought that lithographs would make my works more accessible to young collectors." While her oils are priced up to $100,000, her lithographs begin at $2,000 and her monotypes range from $1,000 to $2,500. HONORS Officier de la Legion d'Honneur, Presidence de la Republique, France Chevalier de la Legion d'Honneur, Ministere de la Culture, France SELECTED MUSEUM COLLECTIONS Metropolitan Museum of Art, New York Musee d'Art Moderne, Paris Musee Picasso, Antibes, France National Acadamy of Design, New York Musee de Tel Aviv, Tel Aviv, Israel Museum of Modern Art, New York Bibliotheque Nationale, Paris (complete collection of original prints) SELECTED IMPORTANT EXHIBITION CATALOGUES 2012 Françoise Gilot, Paris - Vallauris, 1943 - 1953, The Gagosian Gallery, New York Essays: John Richardson, Françoise Gilot, Charles Stuckey and Michael Cory 2011 Françoise Gilot, at 90, Drawings 1941 - 2010, Kunstsammlungen Chemnitz, Germany Essays: Françoise Gilot and Louise Tolliver Deutschman (exhibition curator) 2006 Françoise Gilot, Portraits From a Life, The Elkon Gallery Inc., New York 2003 Françoise Gilot Painting...

A signed and numbered lithograph print. Moshe Gat was born in Haifa in 1935. in 1952 he began his studies at the Bezalel School, in Jerusalem. In 1955 he returned to Haifa, where h...

Hand signed in pencil and numbered. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Hasidic Klezmer Musicians. humorous Yiddish Chassidic art. The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original color lithograph print is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...

Red Grooms’ “Ruckus Manhattan” in the mid-1970s humorously transformed Grand Central Terminal into a 3-D caricature of New York City. “I wanted to do a novelistic portrait of Manhattan from Battery Park to Grant’s tomb,” Grooms explained. The comic-book inspired interactive installation included iconic landmarks—the subway, Central Park, the Apollo Theater...

Lithograph with watercolor. 22 3/8 x 30 5/8. Edition 56 (plus 5 artist's proofs). A bright impression printed on the full sheet of Arches paper. Signed and numbered 4/56 in pencil. ...

La Capeline de Paille d'Italie (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart fr...

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on watermarked paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbe...

Caroline Durieux's "Survivor" is a pencil-signed lithograph created in 1947 in an edition of 20. It is illustrated in Carl Zigrosser's book on the artist published in 1949. Durieux on Survivor "An extra-terrestrial spotlight falls on this battered subhuman figure; he does not look directly into the light but away from it, raising his hand to it like a beggar. The worn pads on his hands and knees shows that he has walked on them, like an animal, for a long time. There is nothing to suggest that he can stand. The beam of light looks cold, machine like, impersonal. Scornful satire marks the limit of comedy for '. . . there is nothing funny about scorn which comes round again almost to the attitude of divine comedy.' Caroline Durieux (American, 1896 – 1989) Printmaker, painter, satirist, innovator, social activist, Caroline Durieux was born in New Orleans and was already making sketches by the age of four. Her formal art training was at Newcomb College (1912-1917) and the Pennsylvania Academy of Fine Arts (1918-1920). Carl Zigrosser of the Philadelphia Museum of Art encouraged Durieux to try lithography. While living in Mexico, she learned lithography from Emilio Amero...

Francois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons a...

Lucille Fink creates densely drawn compositions, often a little off-beat. Signed and titled. Dated on the reverse.