1970s Art

Un rêve vert Color lithograph on Arches without watermark, 1975 Signed lower left in red area (see photo) Numbered lower left in red area Dated in same red area Edition: 100 (67/100) There are also some AP's and 10 HC's in Roman numerals Printed by Michel Cassé, Paris Published by Berggruen, Paris Condition: Excellent Image/Sheet size: 25 3/4 x 19 3/4 inches Reference: Corneille p. 305, No. 453 Corneille Guillaume Beverloo (1922-2010) From Wikipedia, the free encyclopedia Born Cornelis Guillaume van Beverloo 3 July 1922 Liège, Belgium Died 5 September 2010 (aged 88) Auvers-sur-Oise, France Movement COBRA Corneille – Guillaume Cornelis van Beverloo (3 July 1922 – 5 September 2010), better known under his pseudonym Corneille, was a Dutch artist. Corneille was born in Liège, Belgium, although his parents were Dutch and moved back to the Netherlands when he was 12. He studied art at the Academy of Art in Amsterdam, in the Netherlands. He was one of the founders of the REFLEX movement in 1948 and in 1949 he was also one of the founders of the COBRA movement, which has had great influence on Scandinavian art. He was active within the group from the beginning, not only painting but also publishing poetry in the Cobra magazine. He was a cofounder of the Experimentele Groep in Holland [nl]. Corneille was inspired by the drawings of children, and believed in the importance of approaching children with art that connects with their experience. When he heard during a Cobra Museum visit in the nineties that there was an “Art Lending for Children” he talked with the founder Roby Bellemans and asked him to send more information to his home in Paris about this project. He decided to promote the initiative. He started with a support list and persuaded other artists such as Shinkichi Tajiri...

Fay LANSNER Untitled I, 1971 Lithograph, ed. of 150 26 3/8 x 39 1/4 in. / 67 x 99.7 cm Fay Lansner was a leading second generation abstract expressionist ...

Untitled Color lithograph, 1972 Unsigned Edition: From: Fresh Air School, Exhibition of Paintings Large Edition (2000?) Published by the Carnegie Institute Museum of Art, 1973 Printe...

LANSNER, Fay LANSNER Untitled II, 1973 Lithograph, ed. of 75 35 1/2 x 23 in.

Four prints by Mel Ramos. “Tomato Catsup, A.C. Annie, Lola Cola,” and “Tobacco Red” are pop art, offset lithographs in a palette of yellows, orange, and pink by the playful Mel Ramos. The artwork is signed in pencil in the lower right of each print, “Mel Ramos 72.” Framed dimensions are 37 x 31 5/8 x 1 7/8 inches each. Mel Ramos is a California based Pop artist best known for his paintings of superheroes and female nudes, including Marilyn Monroe and Scarlet Johansson, with pop culture imagery. Many of his subjects emerge from Chiquita bananas...

Brushed aquatint, lift-ground etching and aquatint on German Etching paper 71.8 x 56.5 cms (28 1/4 x 22 1/4 ins) Edition of 32

Piero Dorazio Untitled I, 1970 screenprint, edition of 80 Sheet: 37 1/2 x 27 1/2 inches Image: 34 1/2 x 24 1/2 inches Born in Rome and trained in traditional classical painting and ...

Herbert BAYER Birthday Picture I, 1970 Screenprint, ed. of 75 30 x 30 inches

Fritz Eichenberg, 'Simplicius’ Farewell To The World' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

DAVID ROSE (1910 – 2006) LEONARD WEINGLASS - ELLSBERG TRIAL, 1973 Color marking pen on tracing paper. Image 12 ½ x 11 inches, sheet 15 x 18 ½ inches. Very fresh, in good condition with bright colors save for horizontal creases at the lower sheet edge slightly into the image and a few other soft creases. Leonard Weinglass along with Leonard Boudin were attorneys for Anthony Russo and Daniel Ellsberg at the Pentagon Papers Trial in 1973. Upon his death in 2011 the NY Times called Weinglass, “perhaps the nation’s pre-eminent progressive defense lawyer, who represented political renegades Provenance: Directly from the artist David Rose to this dealer in the late 1980’s. I knew David as an artist and friend as we both lived in Los Angeles. It has been in temperature and humidity storage since its acquisition. The Ellsberg Trial was the beginning of a long career for Rose as a court reporter Rose’s papers are in Special Collections of USC, The University of Southern California. The Online Archives of California Rose Biography states: Rose's courtroom career began in 1973 with the trial of Daniel Ellsberg, the former defense analyst who released the Pentagon Papers regarding the Viet Nam War to the New York Times. (Rose received an Emmy Award nomination for his coverage of the Pentagon Papers trial.) Rose's sketches of this trial-- along with all those that would follow through the next twenty-five years-- appeared in television news broadcasts and newspapers all over the world. He saw himself as a reporter-- but with colored pencils and sketchpads as his tools. He tried to capture the emotions in the courtroom-- the tension, anger, and the body language that conveyed them. Over the years, Rose's art depicted the trials of some of the most famous-- and infamous-- personalities to make the news: Klaus Barbie (the Butcher of Lyon), Patty Hearst, Sirhan Sirhan, John Z. DeLorean, Rodney King, Imelda Marcos, Huey Newton...

Robert Natkin (1930-2010) Abstract Expressionist Painter 'Field Mouse Series,' about 1970 Acrylic on canvas, 48 x 44 in. Signed (at lower right): Natkin

lifetime edition silver gelatin fine art archival print 72 x 48 in. (paper size) edition 10 of 50 signed and numbered Notes: Dean Martin prepares to go on...

Anthony FRIEDKIN (*1949, America) Woman by the Pool, Beverly Hills Hotel, Beverly Hills, California, U.S.A., 1975 Silver Gelatin Print, later print Image 76,2 x 114,3 cm (30 x 45 in....

Stanley William Hayter, 'Expansion', color etching and soft-ground, 1970, edition 100, Black & Moorhead 334. Signed, titled, dated, and numbered '23/50' in pencil. A superb, richly inked impression with fresh, vivid colors on heavy off-white wove paper; the full sheet with margins (2 to 2 1/2 inches), in excellent condition. Matted to museum standards, unframed. Image size 17 1/8 x 19 7/16 inches (435 x 494 mm); sheet size 22 x 23 1/2 inches (559 x 597 mm). This image was created in the first state using a plate covered with a plastic sheet; the sheet was cut, and the soft-ground texture was added. In the second state, the plate was covered again, and the sheet cut then etched with a deep bite, and a soft ground texture was added. Printed by Hector Saunier: intaglio fluorescent orange, hard roller phthalo green, soft roller transparent yellow. Note: the online image does cannot accurately convey the vibrancy of the printed fluorescent orange. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

My Bicentennial Print Photo etching, 1976 Signed and dated in pencil lower right (see photo) Titled and numbered in pencil loer left (see photo) Edition: 21 (16/21) There also appears to be an additon of 100. Condition: Excellent Image/Plate size: 14 1/2 x 19 3/4 inches Sheet size: 22 1/8 X 30 inches The artist's commentrary on the Bicentennial Year of 1976 In 1965 Fink was awarded a Gugenheim Memorial Foundation Fellowship for Fine Arts. Herbert Lewis Fink, painter, printmaker, sculptor, and educator, born was in Providence, Rhode Island on September 8, 1921. He studied at the Carnegie Institute of Technology in 1941, he received is B.F.A. degree from the Rhode Island School of Design in 1949, his M.F.A. from Yale University in 1956, and he also studied for a year at the Art Students League and with John Frazier...

Pink Trailer Tilt, North Carolina by Ken Brown is a 9 1/4 x 13 1/2 inch Ektacolor print. This photograph features a ticket booth with painted leaning figures...

ROBERTO MATTA (1911-2002) FOG, GOG, AND MAGOG 1971 Color lithograph. Plate 1 from “Fog Gog, and Magog” 1971. Signed in pencil and numbered. This work is number 92 from the edition o...

CORITA KENT (Sister Mary Corita) 1918–1986 WORKING ON IT INCESSANTLY, ca. 1970 Color serigraph. Signed and numbered in ink 200/. In generally good condition. Image 22 3/8 x 11 1/2, sheet 23 x 12 1/4 inches. Provenance: Marjorie Kauffman Graphics on original period label. Sister Corita is highly important in the development of modern use of serigraphy with highly charged social and political content expressed in strong colors and dynamic composition. She often made biblical and well as literary references as a major part of the composition. She taught printmaking at Immaculate Heart...

Muriel (Mad Meg) Etching, 1973, printed 1976 Signed, dated and numbered in pencil (see photos) The image was first created as an illustration for John Gardner's "The King's Indian" in 1973. An illustration for the book "The King's Indian", a collection of short stories by author John Gardner (1933-1982), published in 1973. "Mad Meg" was most likely inspired by a figure from Flemish folklore, Dulle Griet, who led an army of women to pillage Hell. "Mad Meg" was the subject of a painting by Pieter Bruegal the Elder, done in 1564. References: Carter 174, page 108 Illustration for "The King's Indian", pages 174-17 Condition: excellent Image/Plate size: 13 3/8 x 9 13/16 inches Sheet size: 15 7/16 x 12 1/4 inches Herbert Lewis Fink, painter, printmaker, sculptor, and educator, born was in Providence, Rhode Island on September 8, 1921. He studied at the Carnegie Institute of Technology in 1941, he received is B.F.A. degree from the Rhode Island School of Design in 1949, his M.F.A. from Yale University in 1956, and he also studied for a year at the Art Students League and with John Frazier...

Xylon 21 Naoko Matsubara USA Woodcuts, two which are printed in color, 1970 2 of the 5 woodcuts signed in pencil (see photos) Five original woodcuts, two of which are signed in pencil With introduction entitled Honest Pinetree by Frizt Eichenberg The images are: The Quaker’s Meeting, double page woodcut cover on grey/green paper, signed in pencil, with usual centerfold Publisher: Sekton Schweiz de Xylon, Zurich Date: August 1970 Edition: 500 Sylvan Snow, double page woodcut (with usual centerfold), signed in pencil, dedicated and dated, depicting a forest Verso: Dragon, double page woodcut, with usual centerfold, depicting a dragon Indian Dancer, double page woodcut in black and green (with usual centerfold), depicting dancer Verso: Chinese Dancer. woodcut in red, depicting a dancer Condition: Very good, usual handling issues for paper portfolio Centerfolds as issued Signle filio: 19 3/8 x 13 1/2 inches Double folio: 19 3/8 x 27 inches Publisher: Sekton Schweiz de Xylon, Zurich Date: August 1970 Edition: 500 Provenance: Amity Art Foundation, Inc. A rare dedicated example with a dedication in pencil “For Frank” and dated 1970 Note: Matsubara graduated from the Kyoto University of Applied Arts in 1960. She then pursued an MFA in the School of Fine Arts at the Carnegie Mellon University in Pittsburgh on a Fulbright Travel Grant, and since then has traveled extensively and taught at the Pratt Institute in Brooklyn—a rare distinction for a Japanese woman. She also studied one year at the Royal College of Art, London. Currently she lives and works in Oakville, Canada. Naoko Matsubara’s style is influenced by her teacher Munakata Shiko (1903–1975), who worked in the mingei (folk art) tradition. Her works are part of the collections of many museums around the world such as the Philadelphia Museum of Art, the Chicago Art Institute, the Royal Ontario Museum, the Albertina in Vienna, the British Museum in London, the Kyoto National Museum of Modern Art, the Museum of Fine Arts, Boston, the Tokyo National Museum of Modern Art, the Smithsonian Institution and the Library of Congress in Washington, the Hamburg Museum of Arts and Crafts, the Haifa Museum in Israel and the Art Gallery of New South Wales in Sydney. She was made a member of the Royal Canadian Academy of Arts. (Courtesy of Wikipedia) Naoko Matsubara (1937 - ) Matsubara Naoko (松原直子) was born in 1937 on Shikoku Island into an old Shinto family, and grew up in Kyoto, where her father was a senior priest. She was educated at the Kyoto Academy of Fine Art (BFA, 1960); and was a Fulbright Scholar at what is now Carnegie Mellon University, Pittsburgh (MFA, 1962). She was also a Special Invited Student at the Royal College of Art in London (1962). After travelling extensively in Europe and Asia, Naoko Matsubara returned to Japan for two years, before being lured back to the United States. There she worked as personal assistant to the late Prof. Fritz Eichenberg, and also taught at the Pratt Institute of Graphic Art in New York, as well as at the University of Rhode Island. Subsequently she lived in Cambridge, Mass. In 1972 Naoko Matsubara moved to Canada, and now lives in Oakville, Ontario. She has continued to be extremely active as an artist: locally, nationally and internationally. Since 1960 she has had some 75 solo exhibitions, in the USA, Canada, Japan, England, Ireland, Germany, Austria, Switzerland, Holland and Mexico. She has also participated in numerous group exhibitions. Public collections owning work by Naoko Matsubara include: Albertina, Vienna; Art Institute of Chicago; British Museum; Carnegie Institute; Museum für Kunst und Gewerbe, Hamburg; Museum of Fine Arts, Boston; Philadelphia Museum of Art; Cincinnati Art Museum; Detroit Institute of Art; Fogg Art Museum, Harvard University; Haifa Museum, Israel; Kyoto National Museum of Modern Art; Royal Ontario Museum; The White House, Washington DC; Tokyo National Museum of Modern Art; Yale University Art Gallery. Naoko Matsubara has published some 20 books and portfolios of her work, including most recently Tibetan Sky (Calgary: Bayeux Arts Publishers, 1997; Preface by the Dalai Lama); Tokonoma (Bath, England: Old School Press, 1999); and Konjaku monogatari (Tokyo: ALIS, 2002). Her work also includes a large mural and donor pillar for the new YMCA building in Oakville, Ontario (2003); mixed-media screens; and paintings. In 2005, the Royal Ontario Museum commissioned two large works from Naoko Matsubara for the Museum's Bloor Street window case. The artist generously donated a third work, Emerald Summer (2006). The three works (each 195 cm. high by 95 cm. wide) will be rotated at regular intervals into the outside window. This is the first commissioned artwork to be displayed on the Museum’s Bloor Street Plaza. Recent major exhibitions have been in Tokyo, Kyoto, Indiana, and Toronto (Royal Ontario Museum). Further exhibitions are currently being planned in Seattle and Tokyo; new books in process include In Praise of Hands. She also continues to travel widely; is frequently invited to speak about her work; and also publishes essays, in both English and Japanese. Naoko Matsubara’s work has been the subject of countless articles and reviews; documentary films (including two from the Canadian Broadcasting Corporation); and several book-length publications: notably Mokuhan: The Woodcuts of Munakata and Matsubara (text by Joan Stanley-Baker; Victoria, BC: Art Gallery of Greater Victoria, 1976); Naoko Matsubara: Development of Artistic Style and Technique (text by Barbara Woodworth; MFA thesis, Harvard University, 1985);.and Tree Spirit...

Signed Lower Right by Artist August 1972 Calendar illustration.

"Aspens, Northern New Mexico" is a photography by famed and landmark photographer Ansel Adams. The photograph is signed in pencil, lower right, "Ansel Adams". The framed piece measur...

Victor Vasarely Seven Plates 2 from Album Meta; 1976 Screenprint in colours, on wove paper 45 5/8 x 28 3/8 inches Signed and numbered from the edition of 225 in pencil Published by Editions Denise René...

Skid Row-Self Portrait Color lithograph, 1973 Unsigned (as usual) From: XXe Siecle, Volume XXVV, December 1973 Published by G. di San Lazzaro for A. Maeght, P...

Screenprint, 1974, on Arches Cover Black paper, signed, dated and numbered an AP aside from the edition of 100, published by Gemini G.E.L., Los Angeles., sheet: 46.9 x 112.8cm (18½ x...

Signed 'NORMAN/ROCKWELL' bottom right; also dedicated 'My very best wishes/to/Sir Jay Chernis/Cordially/Norman Rockwell/November 3rd/1975' verso The present work belonged to Sir Jay...

Over the course of his long and prolific career, Norman Rockwell executed over 300 cover illustrations for The Saturday Evening Post. In addition to these beloved commissions, Rockwe...

Francis Bacon Triptych, March 1974 (center panel), 1974 offset lithograph, edition of 150 31 1/2 x 23 3/4 in. (80 x 60.3 cm)

Victor Pasmore Points of Contact No. 30, 1979-80 screenprint, edition of 70 27 3/4 x 21 in. / 70.5 x 53.3 cm

Early Morning Rain Etching & color aquatint, 1977 Signed, titled, numbered and dated in pencil Edition: 40 (39/40) Published by Associated American Artists, New York Condition: Mint Image/Plate size: 16 1/2 x 15 3/8 inches Sheet size: 25 3/4 x 19 1/2 inches Reference: AAA Index No. 2486 "Norman Ackroyd (RA) is one of Britain’s most celebrated living landscape artists. He is renowned for his evocative and atmospheric visions of the British Isles. Working in both etching and watercolour, he is equally as adept at capturing the calm of a Summer’s daybreak as he is the ferocity of a winter sea. Born in 1938 in Leeds, he studied at Leeds College of Art (1957-61) and the Royal College of Art in London...

GLORIA STUART (1910 – 2010) WATTS TOWERS, 1971 Oil on canvas, signed lower right, 24” x 50 ½”. Gloria Stuart, an Academy Award nominated actress was also a painter, illustrator and printmaker. She most recently portrayed Rose in the blockbuster film “Titanic”. She was a Santa Monica native. In 2013 The Los Angeles Museum of Art, LACMA exhibited a nearly identical painting looking from the south, the same size and frame. Last 5 photos show the example at LACMA. One shows theirs in a distant room with a major Thomas Hart Benton painting in the foreground A VERY IMPORTANT MULTI-LEVELED DOCUMENT OF LOS ANGELES AND HOLLYWOOD CULTURAL HSTORYi The following is from her obituary in the Los Angeles Times upon her death in September 2010 at the age of 100 Gloria Stuart, a 1930s Hollywood leading lady who earned an Academy Award nomination for her first significant role in nearly 60 years — as Old Rose, the centenarian survivor of the Titanic in James Cameron’s 1997 Oscar-winning film — has died. She was 100. .......She devoted much of her time to designing and printing artists’ books (handmade, letter-press printed books in limited editions, with her own artwork and writing). Her work is in the J. Paul Getty Museum in Los Angeles, the Metropolitan Museum of Art in New York City, the Victoria and Albert Museum in London and other museums. Stuart, a founding member of the Screen Actors Guild who later became an accomplished painter and fine printer, died Sunday night at her West Los Angeles home, said her daughter, writer Sylvia Thompson. Stuart had been diagnosed with lung cancer five years ago. “She also was a breast cancer survivor,” Thompson said, “but she just paid no attention to illness. She was a very strong woman and had other fish to fry.” In July the actress was honored at an “Academy Centennial Celebration With Gloria Stuart” at the Samuel Goldwyn Theater in Beverly Hills. “She was a charming and beautiful leading lady in the ‘30s, and I never understood why her career didn’t go further at that time,” film historian and critic Leonard Maltin, who interviewed Stuart on stage at the event, told The Times on Monday. As for Stuart’s high-profile comeback in “Titanic”: “She was thrilled by the attention that that performance brought her and really wanted to win that Oscar. I thought she hit just the right notes in that performance. She was wry and engaging.” As a glamorous blond actress under contract to Universal Studios and 20th Century Fox in the 1930s, Stuart appeared opposite Claude Rains in James Whale’s “The Invisible Man” and with Warner Baxter in John Ford’s “The Prisoner of Shark Island.” She also appeared with Eddie Cantor in “Roman Scandals,” with Dick Powell in Busby Berkeley’s “Gold Diggers of 1935” and with James Cagney in “Here Comes the Navy.” And she played romantic leads in two Shirley Temple movies, “Poor Little Rich Girl” and “Rebecca of Sunnybrook Farm.” But mostly she played what Stuart later dismissed as “stupid parts with nothing to do” — “girl reporter, girl detective, girl nurse” — and “it became increasingly evident to me I wasn’t going to get to be a big star like Katharine Hepburn and Loretta Young.” After making 42 feature films between 1932 and 1939, Stuart’s latest studio contract, with 20th Century Fox, was not renewed. She appeared in only four films in the 1940s and retired from the screen in 1946. By 1974, “the blond lovely of the talkies” had become an entry in one of Richard Lamparski’s “Whatever Happened to” books. Writer-director Cameron’s $200-million “Titanic” changed that. Stuart played Rose Calvert, the 100-year-old Titanic survivor who shows up after modern-day treasure hunters searching through the wreckage of the sunken ship find a charcoal drawing of her wearing a priceless blue diamond necklace. Stuart’s performance as Old Rose frames the 1997 romantic- drama that starred Leonardo DiCaprio as lower-class artist Jack Dawson...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Naples #910 by Jed Fielding, 1978 is a silver gelatin print. This photograph depicts a man holding a statue of Bottecelli's The Birth of Venus. The image size is 19 x 12.87 inches an...

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

Publisher: Walker Art Center, Minneapolis

Fritz Eichenberg, 'A Visit to the King of the Waters' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Herbert BAYER Two Triangulated Squares, 1975 Screenprint, ed. 0f 50 32 x 32 inches

Portfolio of 21 photosensitive etchings and engravings on Rives Heavyweight Buff Signed by the artist in pencil on frontispiece Plate No. II:2; Signed by the artist Numbered 27/150 in pencil on the colophon page along with chop marks of artist/printers Robert E. Townsend and Gretchen Ewert, and the chop of Impressions Workshop, Boston Edition: 150 References And Exhibitions: A portfolio edition of Henry James' ghost story first published by "The English Review" in December, 1908 Principal Portfolio Edition Published by Aquarius Press Baltimore, MD Reference: Kneeland McNulty, Peter Milton: Complete Etchings 1960...

This artist’s proof (1/1) is a playful homage to the beloved image of a Toronto streetcar. Pop Artist Charlie Pachter was inspired to create a series of prints on streetcars for one of his first exhibitions in the seventies. This serigraph features the detailed outline of a streetcar angled across three panels—the back and front of a streetcar painted green appears on either side—top and bottom. The backdrop is neutral, bordered in gold. 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...

2-layer serigraph, edition of 100. From the KINETIC PORTFOLIO. top layer is a clear polymer with black printing, bottom layer is red and black dots on a gold paper.

Fritz Eichenberg, 'The Wolf and the Little Kids' from the suite 'Fables with a Twist', wood engraving, 1975-76, artist's proof apart from the edition of c. 50. Signed, titled, and annotated 'Artist’s Proof' in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (7/8 to 1 1/2 inches), in excellent condition. Complete with vellum folder with descriptive text in red and black linotype. Printed by master printer Harold McGrath at The Gehenna Press, Northampton, MA. Image size 13 15/16 x 12 1/8 inches (354 x 308 mm); sheet size 16 1/2 x 14 inches (419 x 356 mm). Archivally sleeved, unmatted. Collection: Harvard Museums. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

20 x 16 inches. Gelatin Silver Print. Signed, dated and titled in pencil on verso.

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Nude on a Stool Ink on paper, c. 1970-80 Signed in red ink lower right Illustrated: Elliott & Wooden, page 232 A copy of this hardbound books accompanies purchase Condition: Excell...

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 York City, 1977 - Elliott Erwitt (Black and White Photography) Signed, inscribed with title and dated on accompanying artist’s label Silver gelatin print, printed later Availabl...

Emilio Sanchez (1921-1999) created this lithograph entitled “LOS TOLDOS” in 1973. This impression is signed, titled, and inscribed “21/50” in pencil. The printed Image size is 22.13...

On Christmas Day Drypoint and aquatint, 1979 Signed lower right: Gene Kloss (see photo) Inscribed lower left: "Artist's Proof", and titled "On Christmas Day" An "artist's proof" imp...

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...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgias Edition 2 of 10, signed and e...

Edition of 150 104.1 x 71.7 cms (41 x 28 1/4 ins)

Victor Vasarely Seven Plates I from Album Meta; 1976 Screenprint in colours, on wove paper 45 5/8 x 28 3/8 inches Signed and numbered from the edition of 225 in pencil Published by Editions Denise René...

Naoko Matsubara, 'Decaying Beauty' for the portfolio 'Solitude', color woodcut, 1971, edition 100. Signed and numbered '49/100' in pencil. A fine, fres...

Signed, titled and numbered by the artist, edition of 30. Imaginary topiary and garden scenes, with incredibly fine line work in the etching in this image of a suspended garden. Oth...

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 ...

Plate CCXIII, Puffin, posthumous reproduction after John James Audubon from The Birds of America, the Amsterdam Edition, printed in Amsterdam, 1971-73. Original multicolored photo-offset print. "G Schut and Zonen" watermark at lower edge of paper. A facsimile from the double-elephant folio...

Francesca Woodman in Providence, Rhode Island (1976) photographed by George Lange. 14 x 11" archival pigment print 21 x 17 x 2" frame with UV plexgias Edition 2 of 10, signed and e...