George Grosz

1936 Lithograph "Freedom" small edition

1936

Vintage pencil signed and numbered limited edition lithograph on deckle edged Arches paper. Shalom of Sefad (Shulem der Zeigermacher in Yiddish Shalom Moskowitz) Shalom of Tzfat lived for over seventeen years in his native town of Safed in the hills of the Galilee. There he worked as a watchmaker, stonemason and silversmith, during the 50's. Since then this self-taught artist has achieved an international reputation. Shalom is a naive painter, but not a primitive one, he expresses a very elaborate way of thinking in his own way. While belonging to Hasidism, Shalom of Safed...

Vintage pencil signed and numbered limited edition lithograph on deckle edged Arches paper. Shalom of Sefad (Shulem der Zeigermacher in Yiddish Shalom Moskowitz) Shalom of Tzfat liv...

Sandro Chia was born in Florence in 1946. He has studied at the Istituto d’Arte and then at the Accademia di Belle Arti in Florence where he graduated in 1969. After graduation, he h...

Sandro Chia (Italian, 1946) Children Holiday, 1984 Lithograph in colors on six sheets of Somerset soft white, 71 x 77 inches (180.3 x 195.6 cm) Numbered A.P. 13/15 (aside from an edi...

According to the frontis these were produced by Hand Lithography. According to the Museum of Modern Art (MOMA NY) website "Edition:300 announced; only approx. 42 issued (including regular edition of 30, deluxe edition of approx. 10, and 2 artist's proofs)" I believe these are from the deluxe edition as they are on Mould made BFK Rives French paper and the dimensions are larger than stated in the MOMA website. the sheet size here is 40X29 cm. Date 1936. Publisher:Black Sun Press, New York. Printer:George C. Miller & Son, New York. most of them are plate signed. George Grosz (July 26, 1893 – July 6, 1959) was a German artist known especially for his Satire and Caricature drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933. He studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik. Grosz left the Communist Party KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority. Along with Otto Dix, he is widely considered one of the most important artists of the Neue Sachlichkeit. Bitterly anti Nazi, Grosz left Germany shortly before Hitler came to power. In June 1932, he accepted an invitation to teach the summer semester at the Art Students League of New York. In October 1932, Grosz returned to Germany, but on January 12, 1933 he and his family emigrated to America. In 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected into the National Academy of Design as an Associate Academician in 1950. In 1954 he was elected to the American Academy of Arts and Letters. Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings.The City (1916–17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession. In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, and also includes a number of erotic artworks. ("Ecce Homo" which saw him accused of pornography) My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. ... I drew a man, face filled with fright, washing blood from his hands ... I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket ... I drew a skeleton...

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...

Landscape print by Suzanne Pirotte

"Parc Montsouris" is an original color lithograph by Harold Altman. The artist signed the piece in the lower right, titled it lower center, and wrote the edition number (28/285) in t...

Two prints of landscape studies framed in a single frame together. Images are signed by the artist in the lower right corner. Framed in a gold frame with a purple matte. Artist Bio...

Untitled - XIII Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm) Frame Size: 21 x 18 inches

Image dimensions: 41 x 62 cm. Interesting colored litograph, representing a landscape of the Sicilian town of Scicli. Hand-signed and numbered with pencil on lower margin by the Italian artist, Virgilio Guidi. Edition of 148 prints. On the "Reisga" stationary paper...

R.C. Gorman (1932 - 2005, American) Title: "Morning Star" Edition: Artist Proof Year: 1991 Medium: Stone Lithograph Markings: Signed & Dated LL Watermark...