Alexander Calder

Flying Colors - Wild Animal, 1974 - Original lithograph, Signed

1974

Jacques Villon Pastoral View : Goats and Sheeps Original stone lithograph Signed in pencil On Japan paper 38 x 56.5 cm (c. 15 x 23 in) INFORMATION : This lithograph is part from t...

Jean Marais (1913 - 1998) Astrology and Zodiac : Taurus Original lithograph Signed with the stamp of the artist (Also bears printed signature in the plate) Numbered / 100 copies On ...

Max ERNST Birds Original lithograph, 1963 on vellum 33 x 25 cm REFERENCES : Catalogue raisonné Leppien/Spies # 88 Excellent condition

Arman (Arman Fernandez, called) Accumulation of African Tchi Wara Gazelles Original lithograph Handsigned in pencil Numbered / 99 On vellum 76 x 56 cm...

Camille HILAIRE Circus : Tiger on Scene Original lithograph Handsigned in pencil On Vellum 74 x 53 cm (c. 30 x 21 in) Excellent condition

Jacques NAM Nude and cat Original lithographie Printed signature in the plate On vellum 15 x 11" (38 x 28 cm) Very good condition, manipulation bend in ...

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...

Cowboy on Horseback with Tourists is a lithograph circa 1935 by Caroline Speare Rohland. Presented in a custom black frame, outer dimensions measure 17 ⅞ x 13 ⅝ x ⅝ inches. Image sig...

This artwork titled "Three Chidren" 1970 is an original color lithograph on B.F.K Rives paper by noted Italian/American artist Beniamino Benevenuto Bufano, 1890-1970. It is hand signed and inscribed "First Impressions" in pencil by the artist. Published by First Impressions, San Francisco, printed by Fikrat Al-Khouri at First Impressions Graphic Society. The image size is 8.30 x 6.5 inches, framed size is 25.25 x 23.35 inches. it is beautifully custom framed in a wooden silver frame. It is in very good condition. See picture 4 and 5 for frame detail, the red mark on the frame are not damages, they are the way the finish is made. About the artist: Beniamino Benvenuto Bufano was born in San-Fele, Italy on Oct. 14, 1889. At age three Bufano's family brought him to NYC where he spent his childhood and was educated by private tutors. He studied at the ASL in NYC from 1913-15, the pupil of James L. Fraser, Herbert Adams, and Paul Manship. He came to San Francisco in 1915 to work on a sculpture for the PPIE. For awhile he worked in the studio of coppersmith Dirk van Erp. He then traveled extensively for four years in France, Italy, India, and China. After returning to San Francisco in 1921, he remained there the rest of his life except for visits to the Orient and Europe. Always a radical, he lost his teaching position at San Francisco Institute of Art in 1923 because he was too modern for the conservative faculty. He later taught at UC Berkeley and the CCAC (1964-65). Henry Miller wrote of him, "He will outlive our civilization and probably be better known, better understood, both as a man and artist, five thousand years hence." His work, simple in style and monumental in scale, includes smoothly rounded animals in granite and icons sheathed in stainless steel. Only five feet tall, Bufano was a controversial, free spirit until his death in San Francisco on Aug. 16, 1970. Member: SFAA; NSS; American Artists Congress. Exh: Whitney Museum (NYC), 1917; Arden Gallery...

This artwork titled "Sleeping Wolves" 1970 is an original color lithograph on rice paper by noted Italian/American artist Beniamino Benevenuto Bufano, 1890-1970. It is hand signed and inscribed "Bon a Tirer" in pencil by the artist. The image size is 12.35 x 11.35 inches, framed size is 25.25 x 24.75 inches. it is beautifully custom framed in a wooden black frame, with silver color spacer. It is in excellent condition. About the artist: Beniamino Benvenuto Bufano was born in San-Fele, Italy on Oct. 14, 1889. At age three Bufano's family brought him to NYC where he spent his childhood and was educated by private tutors. He studied at the ASL in NYC from 1913-15, the pupil of James L. Fraser, Herbert Adams, and Paul Manship. He came to San Francisco in 1915 to work on a sculpture for the PPIE. For awhile he worked in the studio of coppersmith Dirk van Erp. He then traveled extensively for four years in France, Italy, India, and China. After returning to San Francisco in 1921, he remained there the rest of his life except for visits to the Orient and Europe. Always a radical, he lost his teaching position at San Francisco Institute of Art in 1923 because he was too modern for the conservative faculty. He later taught at UC Berkeley and the CCAC (1964-65). Henry Miller wrote of him, "He will outlive our civilization and probably be better known, better understood, both as a man and artist, five thousand years hence." His work, simple in style and monumental in scale, includes smoothly rounded animals in granite and icons sheathed in stainless steel. Only five feet tall, Bufano was a controversial, free spirit until his death in San Francisco on Aug. 16, 1970. Member: SFAA; NSS; American Artists Congress. Exh: Whitney Museum (NYC), 1917; Arden Gallery...

This artwork titled "Three Chidren" 1970 is an original color lithograph on B.F.K Rives paper by noted Italian/American artist Beniamino Benevenuto Bufano, 1890-1970. It is hand signed and numbered 14/50 in pencil by the artist. Published by First Impressions, San Francisco, printed by Fikrat Al-Khouri at First Impressions Graphic Society. The image size is 8.30 x 6.5 inches, framed size is 19.85 x 17.65 inches. it is beautifully custom framed in a wooden gold frame, with gold color spacer. It is in excellent condition. About the artist: Beniamino Benvenuto Bufano was born in San-Fele, Italy on Oct. 14, 1889. At age three Bufano's family brought him to NYC where he spent his childhood and was educated by private tutors. He studied at the ASL in NYC from 1913-15, the pupil of James L. Fraser, Herbert Adams, and Paul Manship. He came to San Francisco in 1915 to work on a sculpture for the PPIE. For awhile he worked in the studio of coppersmith Dirk van Erp. He then traveled extensively for four years in France, Italy, India, and China. After returning to San Francisco in 1921, he remained there the rest of his life except for visits to the Orient and Europe. Always a radical, he lost his teaching position at San Francisco Institute of Art in 1923 because he was too modern for the conservative faculty. He later taught at UC Berkeley and the CCAC (1964-65). Henry Miller wrote of him, "He will outlive our civilization and probably be better known, better understood, both as a man and artist, five thousand years hence." His work, simple in style and monumental in scale, includes smoothly rounded animals in granite and icons sheathed in stainless steel. Only five feet tall, Bufano was a controversial, free spirit until his death in San Francisco on Aug. 16, 1970. Member: SFAA; NSS; American Artists Congress. Exh: Whitney Museum (NYC), 1917; Arden Gallery...