Margaret Harris

The Spirit Of Dutchess County Extending Her Blessings (Edition 6/15)

Mid 20th Century

Susan Gorelick ( American, 1924-2000) "Growth 1" A/P, Abstract Etching signed, titled and numbered in Pencil 15.25 x 11.50, Late 20th Century Colors: Gold, Black Shirley Gorelick (1924–2000) was an American artist who evolved a distinctive realist technique that allowed her to create penetrating psychological portraiture, often on a large scale. She described her early work as a contemporary reinterpretation of the figure “within the framework of a personal humanism” and her later work as “psychological portraiture.” She earned her B.A. at Brooklyn College (1944), where she studied under Serge Chermayeff, and her M.A. at Teachers College, Columbia University (1947). She briefly studied with Hans Hofmann in Provincetown and Betty Holliday in Port Washington. Her early work was influenced by Cubism, Surrealism, and Abstract Expressionism, but she became uncomfortable with the distortion of the human figure in modern art. Gorelick emerged as a strong figurative artist with her first solo show, held at the Angeleski Gallery in 1961, where she exhibited an array of truncated nudes in the prevailing abstract expressionist idiom. Several years later, using the visual language of twentieth-century realism, Gorelick reinterpreted Giorgione’s Concert Champêtre, Pablo Picasso’s Les Demoiselles d’Avignon, and the Three Graces. Most notably, Three Graces IV and Three Graces V feature the repeated forms of a nude, middle-aged African-American model. As Gorelick’s work evolved in the 1970s, the direct associations with her artistic forebears lessened, although she continued to be inspired by them. Blending the theme of the Three Graces and the Tahitian nudes of Paul Gauguin, Gorelick created Westchester Gauguin (Three Sisters), a series of paintings that portray suburban adolescents amid an overgrowth of pachysandra. She further recast the Three Graces in Willy, Billy Joe, and Leroy (1973), a compelling portrait of three African-American men in the artist’s studio. Inspired by Paul Cézanne’s Card Players, Gorelick also painted Chess Game (1972), in which she depicted a group of men playing chess...

Maurice Élie Sarthou (French, 1911-1999) "Composition" Edition 209/220, Abstract Lithograph signed and numbered in Pencil, 18.50 x 24.63, Late 20th Century, ca. 1960s Colors: Green, Black, Yellow, Purple, Orange Sarthou was born in Bayonne on January 15, 1911; an orphan following the death of his father during the First World War, he was raised by his mother and grandfather in Montpellier. After high school, in 1927, he obtained the authorization to enter the Beaux-Arts of the city provided he prepared architecture. After a year, he persuades his family to let him study at the painting studio. He first attended a training at the School of Fine Arts in Montpellier; Then in 1930, a fellow of the city of Montpellier as the ward of the nation, he entered the Beaux-Arts in Paris. In 1934, birth of Francine, his daughter. To make a living, he introduces himself to the drawing faculty. He was appointed to Bastia, then in 1937 to Bordeaux. In 1939, 1940 and 1941, he made war in the transmissions. In 1943, he became a member of the Société des Artistes Indépendants Bordelais, which regularly organizes exhibitions of Parisian artists (Bissière, Lhote, Walch, etc.); this has a positive influence on him; Artistic emulation allows him to assert his style even more intensely. In 1948 he met the writer Raymond Guérin who introduced him to Maurice Toesca, Marcel Arland and, later, Jean Paulhan. In 1950, he illustrated Raymond Guérin's book "Testamentary fragment". In 1949 he was chosen by Jacques Lassaigne, who came to Bordeaux to preside over the regional selection of the Prix de la Jeune Peinture. He won the price Drouant, the first mention of the price (fourth prize on more than 90 competitors, including Lagrange, Lapoujade, Rebeyrolle, also mentioned). In the jury, Gaston Diehl noticed him and invited him to the Salon de Mai of which he is the founder. It is the first manifestation of Sarthou with the Parisian public with two paintings: "Still life" and "Open window". He will participate in this show until 1963. He moved to Paris in 1950, where he was appointed professor of drawing at Lycée Henri IV, which allowed him to exhibit in the salons of the capital and to be more recognized. From 1950, around Jean Paulhan, meet at the arena of Lutetia, on Sunday morning, to play bowls: Maurice Toesca, Jerome Lindon, Yves Berger...

Nora Speyer Untitled, from the Long Point Gallery Portfolio, 1988 Lithograph on paper with deckled edges Hand signed, numbered 22/30 and dated on lower front 22 × 15 inches Unframed Hand signed, numbered 22/30 and dated on lower front Publisher: Long Point Gallery, Inc., Provincetown, Massachusetts; Printer: Bruce Porter from Trestle Editions Limited, New York Rarely to market, this stunning 1988 woodcut was created by Nora Speyer as part of a portfolio produced for sale by Long Point Gallery, an artist's cooperative in Provincetown, Massachusetts. Superb provenance as it is was acquired from the original Long Point Portfolio. This will be the first time the work will be removed from the portfolio. It is hand signed and numbered from a very small edition of only 30; it is in fine condition, unframed and never framed, and housed in the original portfolio box, with the original colophon page, which also included works by 11 other artists. For reference and provenance we have included an image of the colophon page from the complete portfolio. About Nora Speyer: The most exciting place to me is where I can communicate with the greatest number of artists. I can't live without some artists around. I'm not saying artists are likable. They can be very objectionable, but they are still my world. Nora Speyer Born in Pittsburgh, Speyer enrolled at Temple University's Tyler School of Art when she was sixteen. It was there she became roommates with Lillian Lent...

untitled 2023 lithograph by Richard Hunt. Published by Procuniar Workshop, this stone lithograph is signed (lower right recto) and numbered (lower l...