Items Similar to 'Tanks #1' — American Precisionism
Want more images or videos?
Request additional images or videos from the seller
1 of 3
Louis Lozowick'Tanks #1' — American Precisionism1929
1929
About the Item
Louis Lozowick, 'Tanks #1', lithograph, 1929, edition 50, Flint 39. Signed, titled, and numbered '11/50' in pencil. Signed with the artist's monogram in the stone, lower left. A superb, richly-inked impression, on cream wove paper, the full sheet with margins (3/4 to 1 7/8 inches), in excellent condition. Matted to museum standards.
Image size 13 15/16 x 8 1/16 inches (355 x 204 mm), sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm).
Exhibited: 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008.
Literature: 'Prints and Their Creators, A World History', Carl Zigrosser, Crown Publishers Inc, 1974; 'American Lithographers 1900-1960: The Artists and Their Printers', Clinton Adams, The University of New Mexico Press, 1983; 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008.
Impressions of this work are in the following museum collections: Amon Carter Museum of American Art, Birmingham Museum of Art, The British Museum, Brooklyn Museum, New York Public Library, Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Smithsonian American Art Museum.
ABOUT THE ARTIST
“A beautifully articulated synthesis of strong personal visions and an extraordinary command of black-and-white lithography remained constant. His prints have withstood the inevitable fluctuations of fashion and taste, and today are deservedly appreciated by both connoisseurs and a new generation as among the finest created in twentieth-century America.”
—Janet Flint, The Prints of Louis Lozowick: A Catalogue Raisonné, Hudson Hills Press, NY, 1982.
Born in Russia in 1892, Lozowick came to this country at the age of 14 to join his brother in New York City. By 1919, he had attended art school, finished college, served in the army, and traveled throughout the United States, visiting major cities that would later become subjects of his work. From 1919 to 1924, Lozowick lived and traveled throughout Europe, staying in Paris, Berlin, and Moscow. While in Berlin, he became friends with Laszlo Moholy-Nagy, El Lissitsky, and the avant-garde Russian artists affiliated with the Novembergruppe. On his return to New York in 1924, he joined the executive board of the New Masses and exhibited his machine age drawings, the ‘Machine Ornament’ series in the 1926 exhibition of Katherine Dreier’s Société Anonyme; three years later, he made his first prints.
Having assimilated European Constructivist and Cubist theories and the Bauhaus manifesto promoting the integration of applied and fine art, Lozowick was inspired to present the rapidly growing New York City skyline with its monumental skyscrapers as modern symbols of optimism. Like many other Depression-era artists, he identified closely with the common worker and valued the consummate craft and workmanship dictated by the printmaking process. His versatility and range of interests were exemplified by his stage sets for the 1926 production of Georg Kaiser’s play “Gas,” the first Constructivist production seen in America. A year later, his images and essay were centerpieces in the pivotal 1927 Machine Age Exposition in New York. Lozowick’s first solo exhibition of lithographs depicting primarily soaring urban cityscapes and industrial scenes was mounted by the renowned Weyhe Gallery in 1929.
Assigned to the WPA New York Graphic Arts Division in 1935, he left in 1936 to accept a commission from the prestigious Treasury Relief Art Project for two large oil paintings for the Post Office at 33rd Street in Manhattan. His preliminary lithographic studies for the paintings are among his most compelling images of New York skyscraper and bridge forms.
Returning to the Project in 1938, Lozowick experimented with various printmaking mediums, including wood engraving, drypoint, and screen printing, until the end of his appointment in 1940. During the next three decades, encouraged by Carl Zigrosser of the Weyhe Gallery, he devoted himself primarily to lithography, mounting several solo exhibitions at major New York galleries and a retrospective at the Whitney Museum of American Art in 1972. Posthumous solo and group exhibitions of Lozowick’s work include the Hirshhorn Museum and Sculpture Garden (2001), de Young Museum (2007), British Museum (2008), National Gallery of Art, Washington D.C. (2015), Whitney Museum of American Art (2015), Brooklyn Museum of Art (2015), and the Palmer Museum of Art (2019).
Louis Lozowick’s graphic works are held in numerous prominent museum collections, including the Amon Carter Museum of American Art, Art Institute of Chicago, Baltimore Museum of Art, Brooklyn Museum, Cornell University Library, Museum of Fine Arts (Boston), Museum of Modern Art, New York Public Library, Philadelphia Museum of Art, Smithsonian American Art Museum, Walker Art Center, and the Whitney Museum of American Art.
- Creator:Louis Lozowick (1892 - 1973, American)
- Creation Year:1929
- Dimensions:Height: 13.94 in (35.41 cm)Width: 8.07 in (20.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:Seller: 1042511stDibs: LU532313080242
Louis Lozowick
Louis Lozowick is widely recognized as a key figure in America's Precisionist movement and a leader in mid-20th-century modernist printmaking. His graphic works and paintings have been acquired by numerous museums including the Art Institute of Chicago, Brooklyn Museum, Crystal Bridges Museum of American Art, Fine Arts Museums of San Francisco, Metropolitan Museum of Art, Museum of Modern Art, New York Public Library, Philadelphia Museum of Art, Smithsonian American Art Museum, U. S. Library of Congress and the Whitney Museum of American Art.
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
Premium sellers with a 4.7+ rating and 24-hour response times
Established in 1995
1stDibs seller since 2016
307 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Shipping from: Myrtle Beach, SC
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View All'Girl and Cat' — 1930s Modernism
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...
Category
1930s American Modern Figurative Prints
Materials
Lithograph
'de Young Mansion' – San Francisco' — California WPA, Woman Artist
Located in Myrtle Beach, SC
Marguerite Redman Dorgeloh, 'de Young Mansion – San Francisco', lithograph, c. 1937, edition 25. Signed and titled in pencil. A fine, richly-inked impr...
Category
1930s American Modern Figurative Prints
Materials
Lithograph
'Financial District', New York City — American Modernism
By Howard Norton Cook
Located in Myrtle Beach, SC
Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed.
Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987.
Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum.
ABOUT THE ARTIST
Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker.
Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest.
Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937.
He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...
Category
1930s American Modern Figurative Prints
Materials
Lithograph
'Eyes for the Night' — Mid-century Modernism
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
'Eyes for the Night', color lithograph, 1948, edition 35, Fine and Looney 261. Signed, dated, and titled, and annotated 'Ed 35' in pencil. A fine impression with fresh colors, on cream wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Printed by master lithographer Theodore Cuno. Image size 19 x 13 inches; sheet size 21 1/8 x 15 1/4 inches. Archivally matted to museum standards, unframed.
Selected by the artist for his retrospective exhibition 'Benton Spruance: Lithographs...
Category
1940s American Modern Figurative Prints
Materials
Lithograph
'I'll Be What I Choose' — Mid-century American Surrealism
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
'I'll Be What I Choose: Vanity of Ambition', color lithograph, 1949, edition 40, Fine and Looney 281. Signed, titled, and numbered '23/40' in pencil. Initialed in the stone, lower ri...
Category
1940s American Modern Figurative Prints
Materials
Lithograph
$960 Sale Price
20% Off
'Broken Carousel' — Mid-Century American Symbolism
By Benton Murdoch Spruance
Located in Myrtle Beach, SC
'Broken Carousel', color lithograph, 1950, edition 35, Fine and Looney 285. Signed, titled, and numbered '18/35' in pencil. Initialed in the stone, lower right. A fine, richly-inked ...
Category
1950s American Modern Figurative Prints
Materials
Lithograph
You May Also Like
Original Societe Nationale des Chemin Map France, 1953 vintage poster on linen
Located in Spokane, WA
Original French vintage travel poster: "FRANCE, Société Nationale des Chemins de Fer Français." Printed in France by the French National Railroads. Original linen-backed poster; read...
Category
1950s American Modern Landscape Prints
Materials
Lithograph
Original "Wonderful Copenhagen" vintage travel poster
Located in Spokane, WA
Original vintage poster: WONDERFUL COPENHAGEN created by the artist Viggo Vagnby. This antique poster is archival linen-backed, in excellent condition, and ready to frame. No da...
Category
1950s American Modern Animal Prints
Materials
Lithograph
Joan Root, The Arrival, 1982
Located in New York, NY
This exact subject is in the permanent collection of the Portland Art Museum (OR). Root also has works in the McNay Art Museum, San Antonio, and the Smithsonian Museum American Art M...
Category
1980s American Modern Figurative Prints
Materials
Lithograph
Cat and Busybody
By Benton Murdoch Spruance
Located in Middletown, NY
A 1933 lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of t...
Category
1930s American Modern Landscape Prints
Materials
Lithograph
Chicago in 1857
By Raoul Varin
Located in Middletown, NY
Chicago: A. Ackermann & Son, Inc., 1930.
Aquatint with engraving on heavy wove paper with a deckle edge, 15 1/8 x 12 inches (384 x 304 mm); sheet 24 1/2 x 17 1/2 inches (622 x 445 m...
Category
Mid-20th Century American Modern Landscape Prints
Materials
Lithograph
Mexican Babysitter, Folk Art Screenprint by Millard Sheets 1949
By Millard Sheets
Located in Long Island City, NY
Mexican Babysitter
Millard Owen Sheets, American (1907–1989)
Screenprint, signed and numbered in pencil
Edition of AP
Image Size: 24 x 11 inches
Category
1940s American Modern Figurative Prints
Materials
Lithograph
