Art by Medium: Lithograph

This charmingly whimsical lithograph of a classic Toronto image—the streetcar was one of a series Charles Pachter first created in the seventies. Two electric streetcars moving away from the viewer fill the frame—in yellow and pink— hydro lines above them appear to be suspended above a large cloud. Pachter is a much-admired Canadian artistic polymath, his colourful pop artwork merging playful even irreverent elements with deeply iconic imagery. Number 5 0f 20. “…and a good art critic would compare it with Warhol’s soup cans...

New England Coast (Greenport, New York) Lithograph, 1969 Signed in pencil lower right (see photo) Edition: 350 Published in the book, Stow Wengenroth...

Birthday 3-7-65 Lithograph, 1965 Signed, titled, dated and numbered in pencil (see photos) Edition: 23 Published by ULAE, their chop stamp lower left (see photo) Printed by Ben Berns...

Original hand-watercoloured lithograph also signed in plate by publisher C. Hallmandel; C. E. Jackson, "Dictionary of Bird artists of the world", Woodbridge, Suffolk 1999, pp. 259-26...

Color lithograph, Edition 25. The artist describes this project: My Field Lines body of work is inspired by the electromagnetic lines depicted in scientific and mathematical litera...

Printer and Publisher: Tyler Graphics Ltd., Bedford, New York Signed and numbered in pencil, lower margin

For pop artist Charles Pachter, the Toronto streetcar symbolizes the urban landscape he calls home. The iconic image of the streetcar whose tracks have criss-crossed Canada’s largest city for decades was once known as ‘the red rocket’ because of its deep red paint colour. In this lithograph the bright colours of a large image of the back of the streetcar in hot pink and blue with three more smaller images of streetcars in classic red, yellow and one in green pop against a black backdrop. Pachter is a much-admired Canadian artistic polymath, his colourful pop artwork merging playful even irreverent elements with deeply iconic imagery. “….a good art critic would compare it with Warhol’s soup cans...

Lloyd William Wulff. Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blind stamp. Printed on cream wove paper with fu...

Toro and Horse Lithograph, 1957 Signed and numbered in pencil by the artist. Titled in pencil lower left. Edition: 25 (24/25) Printer: Ravel, Paris Reference: Freeman L57.11 'Toro and Horse' was inspired by Spanish bullfighting...

The Columns of Herakles Lithograph in Grey printed Zerkall-Vellum paper, 1960 Signed in pencil by the artist 'O. Zadkine' at the lower right corner (see photo) Numbered in pencil 102...

JOSE CLEMENTE OROZCO (1883 – 1949) CABEZA DE MUJER, ( Woman's Head: Mexican Woman) 1929 (Orozco 9) Lithograph, signed and numbered 23/50. in pencil. Pri...

Olkia-1 Color lithograph, 1962 Signed dated and numbered in lower margin Edition: 80 (32/80) Condition: Very good. White pigment appears to have been added along the border of the oval shape by the artist. Framed with matting in a metal section frame. Image: 20 x 17 3/4" Frame: 31 1/2 x 24" Reference: Benavides & Vasarely 529 Provenance: Martha Jackson Gallery, NY Anderson Gallery...

NAN LURIE (b. 1910-?) INVESTIGATING COMMITTEE BROADCAST, c 1935 Lithograph, published by the WPA New York Project. Signed and titled in pencil with the WPA NY Project stamp lower left. WPA Editions are typically about 25. Image 14 x 10” sheet 16 x 11 ¼”. Listed in the GSA (General Service Administration) WPA catalog in only one example, the University of Kentucky Art...

Over a period of four years, Stella created a body of prints whose titles all came from ‘The Dictionary of Imaginary Places’ by Alberto Mangual and Gianni Guadalupi. Each work from t...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.5 x 47.5 cm. (18 3/4 x 18 3/4 in....

Portrait De Cezanne Lithograph, 1914 Unsigned (as issued in 1914) Edition: Either 100 (per Roger Marx) or 400 impressions on various papers Published in, Cezanne, Bernheim Jeune, 1914 Reference: Roger-Marx 51 ii/II, printed in greenish-grey ink on laid paper Condition: Excellent Image: 9 1/2 x 9" Sheet: 14 3/4 x 11 1/8" Edouard Vuillard French, 1868 - 1940 Vuillard's work straddles two centuries: he was a major post-impressionist in the 1890s, as well as a participant in the renewal of decorative art before and after 1900. Vuillard was one of the central figures of "Les Nabis...

Color lithograph with chine collé, Edition 30. William Wiley uses current political and social issues to comment on life in our time. His stunning draftsmanship, and freeform lov...

Derriere Le Miroir-Page 6-7 Color lithograph, 1973 Unsigned (as issued) From: Derriere Le Miroir, No. 201, January 1973 Publisher: Maeght Editeur, Paris Printer: L’Imprimerie Arte, Adrien Maeght Edition: Large (unspecified) There is also a deluxe edition of this issue of DLM, signed and numbered on the justification page, edition 150 Condition: Fresh colors a few spots of foxing near the centerfold, appropriate to it's age Sheet/Image size: 15 x 22 inches Derriere le Miroir (Behind the Mirror) The art...

Still Life No. 5 Lithograph, 1978 Signed, dated and numbered in pencil (see photos) Edition: 50 (24/50) Published by Solo Press, New York, 1978 Printer: Judith Solodkin, first femal ...

Burst of Sound Lithograph printed in colors Signed and titled in pencil in Japanese (see photos) Edition: 30 (5/30) Provenance: Ralph Drake, Cleveland, OH, noted collector of decorat...

Deneb Color lithograph on BFK Rives, 1996 Signed and dated in pencil lower right Titled and inscribed "Ed 265" lower left Publishers chop stamp l;ower left Printed by Shark's Ink, ...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.5 x 47.5 cm. (18 3/4 x 18 3/4 in.) © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Murakami bridges the gap between Fine Art and Pop Art by uniting elements of Japanese anime...

Les Bijoux Indiscrets (The Indiscreet Jewels) Color lithograph, 1962-3 As published in XXeme Siecle, 1963 From the edition issued by San Lazarro unsigned for the album XXeme Siècle No.22. Printed from the same stones and at the same date as the signed edition of 75 impressions. Printed at the studio of Mourlot, Paris 1963. Signed in the stone (see photo) Titled in the stone (See photo) Edition c. 2000 Reference: Kaplan and Baum: Magritte Graphic Work no 3. Kaplan, Surrealist Prints, Figure 80, page 103 Image size: 9 3/16 x 11 7/8 inches "Executed in 1963, Les bijoux indiscrets (pen and ink drawing) is a work which shows a hand which has a face, its eyes closed, on its wrist. Magritte had originally intended to call the oil version of this work, which he conceived of in 1962 but only finally painted during the following year, the same this work on paper was created, La divine comédie, but according to the catalogue raisonné changed his mind following the suggestion of his friend Paul Scutenaire. Instead of the Dante reference, it was replaced by one to Denis Diderot's first novel, a satire in which a monarch had a magic ring able to make the genitals of women speak. In an old English translation, the bijoux were the 'toys', or genitals, of the women, making the play on the notion of transformative and elusive jewels evoked by Magritte's picture all the more complex. For here, in place of a bracelet, is a human face: this is, indeed, an indiscreet jewel; however, in the eighteenth-century novel the indiscretion was shared by the ring which was able to gain such voluble responses from the women of the fictitious Congo of which the main protagonist was sultan and by those women's no-longer-private parts themselves. This title therefore adds an extra layer of Surrealism to the work, paying homage to one of the movement's predecessors. Les bijoux indiscrets is a preparatory work for a lithograph that Magritte created for XXe Siècle, which was published at Christmas the same year. Clearly, the artist was returning to and embellishing his original composition, which had shown a simple landscape as a backdrop to the articulate hand...

Red Mountain Three color lithograph, 1986-7 Signed, titled and dated in pencil lower right Annotated "B.A.T." for Bon a Tire lower left corner This example is the printers guide for printing the editon of 40 Printed on BFK Rives paper Printed at Derriere L'Etoile Studios, New York Printer: Maurice Sanchez Condition: Excellent, never framed Image/Sheet size: 45 1/4 x 30 inches Louisa Chase came to prominence in the 1980's as one of the outstandingNeo-Expressionist painters. Her work then was characterized by bold colors and brush strokes, often incorporating natural elements and fragments of the figure. Louisa Chase's works have been featured in gallery and museum shows in Cologne, Nurnberg, Luzem, Switzerland, Toronto, and Tokyo, and various galleries and museums throughout the US. She has also been featured at the American Pavillion at the 1984 Venice Biennale. Also in 1984, the Institute of Contemporary Art in Boston organized as travelling exhibition of her work. In 1997, the Madison Art Center organized a retrospective of her prints, Louisa Chase: Prints, 1981-1996. She has been a featured artist at the University of Wisconsin's Tandem Press and at the Tamarind Press; ahe was also invited to do a print for Lincoln Center in New York City. The recipient of two grants from the National Endowment for the Arts, Chase's works are in the permanent collections of such museum as The Museum of Modern Art, the Metropolitan Museum of Art, The Whitney Museum of American Art (New York), The Brooklyn Museum of Arts, The Corcoran Gallery and The Library of Congress (Washington D.C.), The Walker Art Center (Minneapolis), the Mount Holyoke College Art Museum, the Denver Museum of Art, and the Chazin Museum of Art of the University of Wisconsin, Madsion and the Madison Museum of Contemporary Art (Madison WI). Bibliography: Elizabeth Armstrong, Painters who print (Minnapolis: Walker Art Center, 1984); Ruth S...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Fairfield Porter, 'Apple Blossoms III', color lithograph, 1974, edition 50. Signed, numbered '17/50', and annotated 'III' in pencil. A superb, richly-inked impression, with fresh col...

PAUL GAUGUIN (French 1848 - 1903) DEAUX FEMMES MAORIES ACCROUPIES. 1894-5 (Kornfield 26: Guerin 87 ) Zincograph (Lithograph) on smooth, cream imitation Japan paper, edition 200. Pu...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Color lithograph, Edition 25. Barbara Takenaga is a painter who made her first lithograph at Shark's in the summer of 2002. Her abstract works are full of repeated, obsessive mark...

Joseph Fleischmann, 'Whaling' (Hartingers Wandtafeln: Zoologie T. XXXII), monumental vintage color lithograph, 1900. Signed in the matrix, lower right. A superb, beautifully nuanced ...

Offset lithograph in colours, 2018, on wove paper, signed in ink and numbered from the edition of 300, published by Kaikai Kiki Co., Ltd., Tokyo, 47.6 x 47.6 cm. (18 3/4 x 18 3/4 in....

Automne (Autumn) Crayon and brush and tusche lithograph with scraping, 1927 Signed, titled, and annotated in brown ink (see photos) Condition: Good Signature and inscrption fade...

Gropper, Will1am (American, 1897-1977). THE NEW BILL. Lithograph, c. 1941. 11 3/4 x 16 inches (image), 14 x 19 inches (sheet).Titled and signed in pencil. In excellent condition.

Freeman, Don (American, 1908-1978). ASTOR LOBBY,SHOWTIME. McCulloch 34. Lithograph, 1932. Edition of 30 or fewer. Signed in pencil lower right. 8 7/8 x 11 1/8, 225 x 283 mm.(image), ...

Théodore Géricault 'Le maréchal flamand' (The Flemish Blacksmith) from the series ‘Etudes, de chevaux lithographiés,’ lithograph, 1822, 2nd state ...

The Season's Encounter Signed, dated and numbered in the lower margin Edition: 20 (16/20) Signed, dated and numbered in the lower margin Condition: Mint, f...

“LA CASITA AZUL” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casita Azul” circa 1970. The image size is 21.50 x 31.25 inches and the paper size 23.13 x 33 inches. Printed in an edition of 100 this impression is inscribed “91/100” - the 54th impression of 100. Pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam This one of an edition of 99 from the delixe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Reference: Lam-Tonneau-Ryckelnck CR 351 Condition: very good, slight scuffing on reverse from previous hinges About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

Hilliard Dean, '#5', color lithograph, 1970, edition not stated but small. Signed, titled, and annotated 'AP' in pencil. Dated 'June 11, 70' in pencil in...

Signed, titled and numbered lithograph. An early work by this artist known for his southwestern imagery, showing an oncoming herd of buffalo appearing out of the vast space of the...

Dejeuner sur l'Herbe Lithograph, c. 1914 Edition: c. 100 Unsigned as issued by Vollard References And Exhibitions: Commissioned from Cezanne by Ambrose Vollard in the late 1890s Prin...

Signed in pencil lower right Edition: 40 From: America’s Family (Five Images) Published by Valley House Gallery and Sculpture Garden, Dallas, Texas and Thomas French Fine Art, LLC, Fairlawn, Ohio. Printed on Arches paper by James Reed...

Le Peintre et Son Modele Color lithograph on BFK Rives paper Numbered and signed in pencil by the artist Edition 200 (77/200) printed in color...

XXe Siecle, No. 34, Mai 1970 Color lithograph, 1970 Unsigned (as usual for XXeme Siecle edition) From: XXe Siecle, Volume 34, 1970 Published by G. di San Lazzaro for A. Maeght, Paris...

Willem De Kooning Landing Place, 1971 Lithograph 28 x 37 in (71.1 x 94 cm) Edition of 54

Théodore Géricault and Eugène Lami, 'Mazeppa' from the series 'Oeuvres de Lord Byron', lithograph, 1823, 2nd state of 3, Delteil 94. Rendered by Thé...

El Ultimo viaje del buque fantasma, Plate IV Color lithograph, 1976 Signed and numbered in pencil (see photos) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam Edition: 99 (6/99) This one of an edition of 99 from the deluxe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Condition: slight yellows (aging) of paper small paper scuffs verso from previous hinges Sheet size: 22 x 29 7/8 inches About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

Portrait of Gladys Anne Hoskyns Collotype after a Wyndham Lewis drawing, 1923 Singed in the plate and reinforced in pencil Published by The Dial Publishing Company in Living Art: Twenty Facsimile Reproductions after Paintings, Drawings and Engravings and Ten Photographs after Sculpture by Contemporary Artists Author/Publisher: Scofield Thayer...

John Bull jure qu'il est attaché au fils de Théodoros par un lien indissoluble. (John Bull vows that he is tied to the son of Theodorus by an indissoluble band.) Delteil catalog3657 state ii/ii (with letters). 9 5/8 x 8 1/4 (sheet 12 x 11 3/16). Series: Actualités, (News of the Day), plate 189. Published in Le Charivari...

CURRIER & IVES (LOUIS MAURER) 1860 LINCOLN ELECTION CAMPAIGN THE IMPENDING CRISES - OR CAUGHT IN THE ACT, 1860 (C.3033, G.3270) Lithograph...

Hilliard Dean, '#4', color lithograph, 1970, edition not stated but small. Signed, titled, and annotated 'AP' in pencil. Dated 'May 1970' in pencil in th...

GUSTAVE BAUMANN (1881 – 1971) THE PRINT SHOP 1910 (Chamberlain 27) Color woodcut signed in pencil. Unnumbed from an edition 100 as published in the Hills o’ Brown Portfolio, (plate 11 of 12). Image 9 x 13 1/8, sheet 10 ¼ x 13 7/8 with deckle edge at the bottom. The print portrays the Brown County...

Color lithograph, Edition 25. The artist describes this project: Codex YTREBIL, (liberty backwards), is based on a series of small books by anonymous Ind...

Robert Vale Faro, 'Going My Way?', lithograph, 1946, edition 14. Signed in pen, recto. Titled, numbered '#118 14/14' and dated '5/5/46' in pen, verso. A fine, richly-inked impression, on heavy, off-white wove paper, with full margins (1 5/8 to 2 15/16 inches), in excellent condition. Image size 13 1/8 x 7 3/8 inches; sheet size 17 x 12 3/8 inches. Scarce. Matted to museum standards, unframed. An impression of this work is in the permanent collection of the National Gallery of Art. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...