Saul Steinberg

"Derriere Le Miroir, " Three Original Color Lithographs by Saul Steinberg

1977

'Lobsterman's Wharf, Maine' is an original lithograph signed by Malvin Marr "Zsissly" Albright. While Malvin Marr – along with his better-known identical twin Ivan Albright – was known for his meticulous and unsettling magic realist compositions, he and his brother were also prolific in capturing landscapes of the coast of Maine where the two spent several consecutive summers away from Chicago over their lives. Sometimes these Maine landscapes and views would be painterly and seemingly antithetical to the careful realism of his other work; but in this example, however, the wharf is treated with the same macabre decay as his human subjects. In the composition, the shack...

In this lithograph, Georges Schreiber focused on the thrill of the circus, taking its circular composition from the central ring. Here, acrobats perform amazing feats of agility on t...

The present print, "Victoria," is the most iconic example of the printmaking of Malvin Marr Albright, called Zsissly. The composition for the image comes from Albright's painting from about 1935, done while he was studying at the Art Institute of Chicago. We can see clearly in the image how he possesses the same skill for unsettling, magic realist images as his more famous twin brother Ivan Le Lorraine: The lady Victoria sits at a dining room table, surrounded by luxurious still-life objects. All the textures and surfaces of the image express a horror vacui as seen in his painted works, such as "The Trail of Time is Dust" at the Pennsylvania Academy of Fine Art. The door in this print recalls one of the more famous works by his brother, "That Which I Should Have Done I Did Not Do (The Door)" at the Art Institute of Chicago. 1947, after ca. 1935 original painting 8 1/2 x 13 inches, image 12 x 16 inches, sheet 16 1/4 x 20 1/2 frame Signed in pencil, lower right Title in pencil, lower left Published by Associated American Artists Inc. Unnumbered from the edition of 250 A painter and sculptor, Malvin Albright was born in Chicago, one of twin sons of Adam Emory Albright, famous Chicago figure painter of juvenile subjects, who often used Malvin and his brother Ivan Le Lorraine as models. Malvin's middle name, Marr, was after Wisconsin artist Carl von Marr...

"Two Days of Childhood That are Still Unexplained" from "For the Sake of a Single Verse" is an original lithograph signed in the lower right by the artist Ben Shahn. It depicts six female figures in long coats. One group is silhouetted in blue and the other in a pastel purple. 22 1/2" x 17 5/8" art 32 3/4" x 28" frame Ben Shahn (American, September 12, 1898 - March 14, 1969) was a painter, lithographer, and photographer best known for his left-wing political leanings, works of social realism, and The Shape of Content, a publication of his lectures. Shahn was born in Kovno, Lithuania, when the country was still occupied by the Russian Empire. In 1902, Shahn's father, Joshua Hessel, was exiled to Siberia. Shahn then moved to Vilkomir, Lithuania, with his mother, Gittel, and his two siblings. Their family moved to the United States in 1906 to join their father who had fled from exile. After settling in Brooklyn, NY, Shahn began to train in lithography and graphic design, and his favorite medium was egg tempera. In 1919, Shahn enrolled in New York University to study Biology before entering the City College in 1921 to study Art. He also studied Art at the National Academy of Design. In the 1920s, Shahn and his wife traveled around Africa and Europe to study the works of renowned artists such as Pablo Picasso (Spanish, 1881- 1973) and Raoul Dufy (French, 1877-1953). In 1933, Shahn worked as an assistant of Diego Rivera (Mexican, 1886 - 1957); at this time, Rivera was working on the mural at the Rockefeller Center in New York. Two years later, Shahn was recommended by Walker Evans (American, 1903 - 1975) to join the Farm Security Administration photographic group. One of the artist’s most famous works is the fresco mural he did for the Jersey Homesteads' community center. Shahn also worked on murals for the state on the Federal Security Building and the Bronx Central Annex Post Office. During the Second World War, Shahn made a series of paintings laced...

"Noel" is an original linocut in green ink on tan paper by Sylvia Spicuzza. The artist stamped her signature lower center. This artwork features the Virgin Mary holding the baby Jesu...

"Merry Christmas" is an original color woodcut on paper by Sylvia Spicuzza. The artist stamped her signature lower right. This artwork features the an abstracted figure on orange p...

Caroline Durieux created the technique (electron print) used in the depiction of "Morning".e. This is only one of 5 impressions. Some have theorized that the image is close to that of the artist's brother, Professor Charles Durieux. In the electron print technique, radioactive isotopes are mixed with printing ink. A drawing is made and exposed face-to-face to paper coated with a radio-sensitized substance. The paper is then developed and produces an exact image of the original drawing. “The image is transferred from the radioactive drawing to the sensitized paper by invisible beta rays,” says Dr. Wheeler. “Since beta rays are electrons, we named the process Electron Printing.” Caroline Durieux (American, 1896 – 1989) Printmaker, painter, satirist, innovator, social activist, Caroline Durieux was born in New Orleans and was already making sketches by the age of four. Her formal art training was at Newcomb College (1912-1917) and the Pennsylvania Academy of Fine Arts (1918-1920). Carl Zigrosser of the Philadelphia Museum of Art encouraged Durieux to try lithography. While living in Mexico, she learned lithography from Emilio Amero...

Original Arnold Ronnebeck (1885-1947) lithograph of a home in Gregory Point, near Central City, Colorado from the 1930s. Edition of 25 printed. Presented in a custom frame, outer dimensions measure 23 ¼ x 18 ½ inches. Image size is 19 ¼ x 13 ¼ inches Print is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Arnold Ronnebeck Expedited and international shipping is available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

Photo Opportunity (Tourists, Garden of the Gods, Colorado Springs, Colorado; edition of 30 is a lithograph circa 1935 by Charles Wheeler Locke (1899-19...

Lithograph on paper titled 'Colorado Gold Dredge, Breckenridge' by Arnold Ronnebeck (1885-1947) from 1932. Numbered 15/25. Depicted is a gold dredge in Colorado mining town Breckenridge with a mountain landscape in the background. Presented in a custom frame measuring 17 ¼ x 21 ¼ inches. Image size measures 10 ¼ x 14 ¼ inches. Print is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Arnold Ronnebeck Expedited and international shipping is available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...

Fritz Scholder (1937-2005) "Custer's Last Fight" Lithograph Ed. 54/75 Signed and Numbered Site Size: approx 22 x 30 inches Framed Size: approx. 35 x 41.5 inches Born in Breckenridge, Minnesota, Fritz Scholder became a prominent Indian portrait, figure, and genre painter in Arizona. His father was part Indian, and Fritz Scholder chose to focus his art work on this part of his lineage and to express both an appreciation and disdain for Indian customs, traditions, and daily existence. He studied at the University of Kansas, Wisconsin State University, and with Wayne Thiebaud at Sacramento College in California. He earned an Master of Fine Arts Degree from the University of Arizona. A long-time resident of Scottsdale, Arizona, he has filled a number of artist-in-residence positions including Dartmouth College and the Oklahoma Summer Arts Institute. In his work, he frequently showed the harsh, realistic side of Indians' lives and deaths including the affects of alcohol and other dissipations, but some of his depictions are humorous such as Indians on horseback carrying umbrellas. His brush-work is generally swift, and the tone often sombre and surreal. A major influence on his work was the contemporary British artist, Francis Bacon, from whom Scholder adapted ironic distortions into his canvases. In Scottsdale, he lived in an adobe-walled oasis of palm trees and oleander, amid skulls and skeletons. In the garden, several of Mr. Scholder's sculptures feature skull-like heads. In the library, an 18th-century skull engraved with witchcraft symbols shared shelf space with books printed before 1500. And the porch had been converted into a skull room, complete with Mexican Day of the Dead...

A wonderful print by African American artist, Charles White (1918 - 1979) "Blues" Color lithograph on Rives paper, 1971. 11.5 x 26.75 inches (28.55 x 68.7 cm) Signed, titled, date...