Maurice de Vlaminck

Le Petit Pont ( A Lithograph from Notre Pain Quotidien)

1963

Maurice de Vlaminck (French 1876 - 1958), "Le Bassin" ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963 Colors: Black and White Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh...

Maurice de Vlaminck (French 1876 - 1958), "Place de L'Eglise ( A Lithograph from Notre Pain Quotidien)" Abstract/ Post-Impressionist Lithograph, 17 x 20, Late 20th Century, 1963 Colors: Black and White Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh...

Artist Unidentified /Unknown, "Untitled" Edition 79 /100, 19.75 x 25.50, Late 20th Century Colors: Purple, Blue, Brown, Yellow, Turquoise, Pink Note* Unidentified Artist s...

George Stauch (American b. 1900), " The Wedding" Edition 270/300, Abstract Color Lithograph signed in pencil, 20 x 24, Late 20th Century Colors: Blue, White, Red, Brown, Y...

Artist Unidentified /Unknown, "Untitled" Edition 19/100, 19.75 x 25.50, Late 20th Century Colors: Grey, Blue, Red, Turquoise Note* Unidentified Artist signature on bottom ...

Artist Unidentified /Unknown, "Untitled: Purple, Blue & Gold" Edition 39/200, 19.75 x 25.50, Late 20th Century Colors: Purple, Blue, Brown, Yellow, Gold Note* Unidentified Artist si...

A substantial trillium monotype landscape showing a view of the cultivated fields and coastal hills of Monterey County, California bathed in the glow of a radiant sunset. Signed lower left, "Maxon" for John Maxon (American, 20th century) and created circa 1985. Coming from a western tradition in Wyoming, John Maxon developed an expansive view of nature and the spiritual essence it imbued. Moving eventually to the San Francisco Bay area, John’s delight in the effects of light and color led him to the decision to become an artist at the young age of 15. His natural ability was encouraged and, at 16, he began figurative art classes with Howard Brodie. Maxon spent his youthful days painting seriously in the fields behind Stanford University, and was fortunate to be exposed to and to study the works of Nathan Oliviera, Wayne Thiebaud and David Park during those years. He attended San Jose State University, and apprenticed for Sam Richardson...

Joe Goode Grey Folded Clouds - II Blue and white (blue paper sky) 1971 Lithograph, Edition of 50 41 x 61 cms (16 x 24 ins)

Charles Lapicque Original Handsigned Lithograph Dimensions: 56 x 38 cm Edition: EA 14/20 Hand Signed and Numbered Charles Lapicque was one of the great painters of the “Ecole de Paris...

Karl Eugene Fortess (1907-1993) Original color lithographs on BFK Rives paper, 1966, Hand signed and numbered 29/36 in pencil, Sheet size 20.5 x 15 inches. Karl E. Fortess (1907-1993) was a painter, printmaker and teacher, of Boston, Massachusetts and Woodstock, N.Y. Fortess was born in Antwerp, Belgium on October 13, 1907, and became an American citizen in 1923. He studied at the Art Institute of Chicago, the Art Students League in New York, and the Woodstock School of Painting with Yasuo Kuniyoshi. In 1937 the Works Progress Administration sent him and several other artists to Alaska to document the towns, villages, and remote wilderness landscapes (Pemberton, “Alaska art museum collects WPA’s Depression works from the territory,” Columbia Daily Tribune, November 9, 2003). Trains, trucks, and industrial buildings were what Karl Fortess envisioned when the Public Works of Art Project suggested that he depict “the American Scene.” His work bears the influence of Surrealism, Russsian Constructivist art and Cubism. He was part of a circle of left leaning artists loosley involved with the WPA which included Sol Wilson, Isaac Soyer, Louis Lozowick, Abraham Harriton, Ben Shahn, William Gropper, Nahum Tschacbasov, Morris Shulman, Yasuo Kuniyoshi, Louis Slobodkin, Adolf Dehn, Le Corbusier and Louis Schanker. Karl Fortress taught at the Art Students League, Brooklyn Museum Art School, Louisiana State University, Fort Wright College, and Boston University School of Fine and Applied Arts. He was a member of the Artists Equity Association, Society of American Graphic Artists, American Association of University Professors, and the British Film Institute. He was awarded the Guggenheim Fellowship in 1946, was named an Associate of the National Academy of Design in 1960 and elected to full Academician in 1971. Fortess taught at many different schools, including Boston University School of Fine Art, where he also created an archive of interviews with more than two hundred and fifty contemporary American painters, sculptors, and graphic artists including many with with artists associated with the Woodstock, N.Y. art community. Among the interviewees are Kenneth Armitage, Will Barnet, Romare Bearden, George Biddle, James Brooks, Adolph Dehn, Jane Freilicher, Julian Levi, Alice Neel, Larry Rivers, Moses Soyer, Dorothy Varian...

Artist: David Leverett, British (1932 - ) Title: Greenfields: Sacred Garden Series Year: 1990 Medium: Lithograph, Signed and Numbered in Pencil Edition: 44/250 Image Size: 22.75 x 30.75 inches Sheet: 27 x 35 inches Provenance: Merrill Chase Galleries...

This image is a Tamarind lithograph printed on Bisque Revere Suede bearing Tamarind chop, printer's chop and artist signature. The edition was 95 impressions. Hayal Pozantı...