Lorser Feitelson

GIRL RECLINING

1933

CHARLES BANKS WILSON (American 1918 - 2013) COMANCHE PORTRAIT, c. 1941 Lithograph signed in pencil. Edition 250 as published by Associated Artists. 10 1/4 x 14 1/2 inches. Sheet, 1...

GEORGE SCHREIBER (1904 – 1977) WITHOUT A NET c. 1944 Lithograph, signed in pencil lower right. Image 8 7/8 x 13 5/8 inches, sheet 10 5/8 x 15 ½ inches.Edition approximately 250 as p...

JAMES CHAPIN (1887 – 1975) COMPOSITION c. 1940 Lithograph signed in pencil, Image 11 7/8 x 7 ¾ inches, sheet 13 5/8 x 10 5/8 inches. Just a hint of mat line in the margins and on the verso. Some remnants of old tape prImarily at the left & right sheet edges. Rather scarce print but possibly published by Associated American Artists. WONDERFUL PORTRAYAL OF AN UP AND COMING ARTIST...

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...

JUNE WAYNE (1918 - 2011) A WINTER - SEEMING SUMMER'S NIGHT, 1957 From the John Donne Series. (Conway 122, Basket 106: Gilmour 50) Lithograph signed, title...

YASUO KUNIYOSHI (1893 -1957) CIRCUS GIRL WITH PLUMED HAT, 1933 (D.L60) Lithograph, signed in pencil and annotated 25P (edition of 25). Image 12 5/8 x 9 3/8 inches. Full margins w...

Original French antique vintage poster: RIBET DESJARDINS. Professional acid-free archival linen backed, very good condition. Ready to fram...

Original. ERP European Reunification Program, Inter-europaische Zusammenarbeit fur bessere Lebenbedingungen. Mounted on acid free archival linen. Lithography Kühn & Zoon, Rotterda...

Original vintage poster Algeciras Feria 1948 vintage Spanish travel poster. Archival linen backed in very fine condition, ready to frame. N...

This lithograph, as well as the 3 followings, has been done by Dutch artist Corneille, (1922-2016) who created lyrical, expressionist paintings bursting with color and who was one of...

This artwork titled "Sub Culture" c1972 is an original color lithograph on wove paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and numbered 5/10 in pencil by the artist. The image size is 17.75 x 13 inches, sheet size is 19.85 x 15 inches. It is in excellent condition, some hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...