Georges Braque

Ciel Gris I (Gray Sky I), 1959

1959

Expressing the playful and vibrant quality of Miró's work, this piece uses minimal detail and shape in a delicate balance of color and line. Using a lyrical quality of shape, the vie...

Joan Miró Terres de grand feu, 1956 was created to celebrate a three-month exhibition at the Galerie Maeght, Paris, of ceramics done by Miró a...

Comprised of a repetition of oval blue targets, Georges Braque Le tir à l'arc (Archery) exemplifies Braque's skill at evoking a sense of mood through abstraction. The soft, swirling ...

This abstract Georges Braque Le tir à l'arc (The Archery), 1960 toys with repetitive motifs that vary ever so slightly. Four white, rectangular figures arranged in a square formation...

Braque is known to have spent years working on this project, the illustrations for Lettera Amorosa by René Char. This exquisite work from the book utilizes sweeps of color to create ...

Created in 1978 this work was one of twenty one illustrations Miró executed for Carlos Franqui’s collection of poetry entitled Album 21. A character gazes at the viewer, its eyes wid...

Figure is an original lithograph on ivory-colored cardboard, realized by Alfonso Avanessian in 1989. Hand-signed and unnumbered, on the lower righ...

Valerio Adami Jacques Derrida's Portrait Original Signed Lithograph Signed and Numbered Dimensions: 90 x 60 cm Edition: 50

Scout is an original artwork realized by Italian artist Pietro Morando (Alessandria 1889- 1980). Hand-colored lithograph. Hand-signed on the lower right in pencil, titled. Number...

Käthe Kollwitz (German, 1867-1945) Deutschlands Kindern Hungern (Germany's Children Are Starving), 1924 Lithograph on paper after original charcoal drawing Sight: 17 1/2 x 12 in. Fr...

Civilisation à la Porte is an Original Lithograph realized by Cham in the mid-19th century from the series "La Civilisation à la Porte". Signed on the plate by the artist on the low...

Simka Simkhovitch (Russian/American 1893 - 1949) signed lithograph. Pencil signed and dated "S. Simkhovitch 1933" lower center. Title "Island Beach," in pencil lower left of sheet. Numbered "44/50" in pencil lower right. (it is either Island Beach Wisconsin or New Jersey) Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...