Triad Art Group, Inc.

Steinlen, Theophile "Lait Pur Sterilise de la Vingeanne" Original lithograph, c. 1894 Rennert 12 Printed by Charles Verneau, Paris Bright Fresh Colors, RARE "The humble dairy of Q...

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 K. Sultan (b. 1951) Untitled, from Wallflowers Screenprint in colors on wove paper, 2008 24-1/4 x 21-5/8 inches (61.6 x 54.9 cm) (sheet) Ed. 53/190 Initialed, numbered, date...

Jim Dine (B. 1935) "TWO HEARTS AT SUNSET" Lithograph in colors on wove paper, c. 2005 Signed and dated in white pencil, lower margin on wove paper This impression 68 from the edition...

RENOIR, PIERRE AUGUSTE (1841 -1919) "Une Mère et Enfant (Jean Renoir)" (Mother and Child) Delteil 10, Stella 10 Drypoint in color, 1896 Proof aside from the numbered edition of 100 impressions Published in “L’Album des peintres-graveurs; Ambroise Vollard Signature on the stone “Renoir” 10” x 7 3/4” Very fine impression on laid paper Renoir’s interest in the mother and child theme was awakened with the birth of his first son Pierre in 1885. In 1894 their second son, Jean, was born. This was the inspiration for this particular etching created when Jean was just two years old. Renoir was interested in Rubens and Delacroix’s rich use of color and loose rounded form which he observed in the Louvre in Paris. His appreciation is evident in this printThe simple positioning of the figures is structurally balanced, and shows Renoir looking back to Raphael’s Virgin and Child paintings...

HELLEU, PAUL CÉSAR (1859 - 1927) "La Dame a la Toque" (Lady in Fur Hat) Montesquiou XXXVI, c. 1906 Drypoint printed in colors on pale cream wove paper Signed in black crayon lower ...

NEVELSON, LOUISE (1899-1988) "Dusk in August" Lithograph in colors, 1967 Signed, dated, titled, and numbered in pencil lower margin This impression is XVIII/XX Sheet Size: 17” x 22” Published by Hollander’s Workshop with their blindstamp This lithograph by Louise Nevelson was made in collaboration with eight other artists in 1967. The other artists included in this portfolio collaboration are Roy Lichtenstein, Louise Nevelson, Willem de Kooning, Robert Motherwell, Henry Pearson, Sam Francis, Richard Lindner, and Saul Steinberg. Louise Nevelson is one of American’s foremost artists, Nevelson’s sculpted wood assemblages transcended space and transformed the viewer’s perception of art. She was an American sculptor best known for her monochromatic wooden assemblages. During the 1950s, she began to create unique arrangements contained in wooden frames amassed from a range of found objects—usually woodcuts or bits of furniture—that were then painted a uniform black, white, or gold, as seen in her seminal work Royal Tide I (1960). Louise Nevelson emerged in the art world amidst the dominance of the Abstract Expressionist movement. In her most iconic works, she utilized wooden objects that she gathered from urban debris piles to create her monumental installations - a process clearly influenced by the precedent of Marcel Duchamp's found object sculptures and "readymades." Nevelson’s prints share with her sculpture an interest in silhouetted forms and the layering of elements, but distinguish themselves by their vivid color, depth and movement.. Louise Nevelson experimented in several different print mediums. A 1963 Ford Foundation grant enabled June Wayne of the Tamarind Lithography Workshop, Los Angeles, to extend an invitation to Nevelson. This initial collaboration led to twenty six lithographs, mostly black with dark blue or red, which combined hand-drawn elements with printed lace. Nevelson returned to Tamarind in 1967 to complete sixteen large scale lithographs know as Double Imagery. In these lithographs Nevelson played with landscapes of shadows and reflections using irregular shaped papers and a limited palette of black, red, grey and blue. For her brilliant compositions in varied mediums critics hailed her as the leading sculptor of the twentieth century. A pioneering grand dame of the art works, Nevelson’s iconic persona was characterized by her skilled mixing and matching of ethnic clothing...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "LA VACHE ENRAGÉE" Wittrock P27B, Adhemar 197 Original color lithograph Wittrock’s State III of III with letters Printed on buff wove paper, c. 1896 Bears artist stamp “TL” upper right, dated 96 Image size: 22 1/2” x 23 5/8” Several examples are known where Lautrec drew on work by other artists whom he admired. In this poster there are clear references to Adolphe Willette's humorous themes and rococo style of illustration. Willette was the founder and illustrator of the short-lived monthly “La Vache Enragee”(the angry cow) edited by the cartoonist Adolphe Roedel. This colored poster of the same title was commissioned for the appearance of the magazine March 1896. As a reference to the wretched financial state of most artists, the term “manger de la vache enrage” (meaning roughly, “meaning not having enough to eat”) was adopted as the motto for the “Vachalcade”which was held on Montmarte annually from 1896. This was an artists' procession, with fanfares and allegories on fame and the muses; it also included a furious cow and a troupe of pretty girls as a satire on Europa with the bull. The event was organized by Roedel"(Adriani p.217) Toulouse-Lautrec took up lithography at a high point in its history, when technical advances in color printing and new possibilities for large scale led to a proliferation of posters as well as prints for the new bourgeois collector. In his short career, he created more than three hundred fifty prints and thirty posters, as well as lithographed theater programs...

ALPHONSE MUCHA (1860 – 1939) Flirt Biscuits Rennert/Weill 72 Lithograph in colors c. 1900 Signed in stone, lower right margin Image: 24” x 11”, Paper: 25 ¼” x 11 ¾” F...

Robert Motherwell American - La France Variation VIII Lithograph in colors from five aluminum plates with collage in Arches, 1984 Arches collaged on Oatmeal Australian Bemboka hand...

Sol Lewitt (1928 – 2007) Five Pointed Star Color Screenprint on Arches wove paper, c. 1992 Sheet size: 32 3/4” x 22 ¼” Signed by artist and numbered Edition 104 of 250] Printed by Keizo Tasaka, Watanabe Studio, Ltd., Brooklyn Published by Puma Trading, Paris or Editiones Catalanes, Barcelona, for the International Olympic Committee, with blind stamp lower center Sol LeWitt was born on September 9th, 1928, in Hartford, Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan, where he bought the first works that became the basis of a large personal art collection. In 1953, he moved to New York City, where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts) and worked for Seventeen Magazine...

DONALD SULTAN (b. 1951) Two Pears a Lemon and an Egg Screenprint in colors on Arches 88 paper, 1994 Sheet Size: 22” x 23”, full margins. Impression 67...