Pitcher and bird

1970ca

Lithograph, 1956 Handsigned by the artist in pencil and numbered 26/95 Publisher : Maeght (Paris) Catalog : [Maeght n.1016 Vallier p.293] 55.00 cm. x 112.50 cm. 21.65 in. x 44.29 in...

Lithograph, 1955 After Georges Braque Handsigned by the artist in pencil and numbered 71/75 Publisher : Verve (Paris) Printer : Mourlot (Paris) 38.00 cm. x 26.00 cm. 14.96 in. x 10....

Lithograph, 1954 Handsigned by the artist in pencil and annotatd EA 7/7 Edition : 220 Publisher : Guilde de la Gravure (Paris et Genève) Printer : Mourlot (Paris) Catalog : Polieri 1...

Lithograph, 1957 Handsigned by the artist in pencil and numbered 87/100 Publisher : Editions le Musée de Poche, Paris Printer : Jean Pons Catalog : [Polieri 1747] 66.00 cm. x 50.00 c...

Abstract French lithograph, circa 1980. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. Archival plasti...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 85-86, 1956. Published by A...

This lithograph is part of my private collection since 1970's. It is pencil signed by the artist and numbered 198/220. Guilde del la Gravure .

Born in Budapest in 1907, he had a humble upbringing and a passion for the arts. Shortly after the Hungarian Revolution broke out in 1956, Domján was invited to showcase his work in New York; given both the circumstances and opportunities, he readily accepted. Eventually, with his wife and children, he settled in Tuxedo Park. Here, he established the Domján Studio and where lived until his passing in 1992. In his early years, and during the Great Depression, Domján toured Europe with the desire to be engulfed by art. Previously, much of his time had been consumed with the work of both an engine fitter and foundry worker. After testing the waters of over 20 different professions, he discovered his passion in the arts. Later, during his European tour, he earned his way by selling a variety of works including both paintings and sketches. Post-depression, he returned to Hungry where he studied seven years at the Budapest Academy of Arts. Having spent an earlier portion of his life as a painter, Domján created his first woodcut in 1947 by using oil paint as opposed to printer’s ink. The result was stunning. This technique, becoming his signature style, would later set him apart from others within the trade. To create his pieces, Domján applied rich color, layer by layer, and lays claim to having “succeeded in bringing to the world something that had not existed before.” Ultimately, each print became three dimensional and gave the appearance of a painting. His technique has gained him international merit as well as the honor of receiving China’s “Master of the Color Wooodcut” award, a recognition given only once every century. The inspiration behind many of Domján’s woodcuts, coupled with his love of nature, is derived from Hungary’s brilliant folklore. The intricacy of his design is certainly his prominent element; however, their subtle coloring and abstract images contribute to his unique style. For the 59th Anniversary of composer Béla Bartók’s opera, Duke Bluebeard’s Castle, Domján used the opera’s profound imagery to create a series of woodcuts. The work included an ominous castle, coiled snakes, smirking masks, elusive zodiac symbols, and the story’s forbidden key. In doing so, Domján was able to weave traditional folklore components into a fantastic piece of modernized art. His work is not only expressive of Hungarian folklore...