Jack Hofflander

S. Bennington Building, Folk Art Lithograph by Jack Hofflander

1979

Jack Hofflander, American (1920 - 2003) - Mountain Bridge, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 22 x 31 inches, Size: ...

Jack Hofflander, American (1920 - 2003) - Lancaster Barns, Year: circa 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, 35 AP, Image Size: 15 x 20 inches, ...

Jack Hofflander, American (1920 - 2003) - Pennsylvania Dutch, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 22 x 30 inches, Siz...

Jack Hofflander, American (1920 - 2003) - Barnyard I, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 30, Image Size: 30 x 22 inches, Size: 34.5...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

Very nice painting with a folk art feel by the artist, Horace M. Stone, Jr. (1919-1978). The piece was executed in 1956. Stone has depicted the brick facade of the main offices of th...

Maxwell Mays (1918-2009) American painter and illustrator. Signed and dated 1983. This painting titled "Cascade Springs" is an intricate and lively depiction of a bustling Colorado town during its historical boom period. The painting illustrates the vibrant energy of the town with details of trains, trolleys, horse-drawn carriages, and pedestrians in a winter landscape. The scene captures the essence of Victorian and Edwardian architecture alongside the Rockies, representing a mix of rural charm and the burgeoning industrial presence with trains labeled "Atchison, Topeka & Santa Fe" and freight cars marked "Rock Island" and "DRG." The composition is filled with movement: people strolling on the sidewalks, horses pulling carts loaded with goods, and trains arriving and departing, indicating a hub of economic and social activity. The detailed rendering of buildings, including "William M. Baxter Hay & Grain" and market scenes, emphasizes the town's industry and commerce. The snowy mountains and rooftops in the background further ground the painting in the Colorado Springs region, showcasing the rugged, wintry landscape that frames the town. The palette of subdued winter tones, combined with bright pops of color in the trains and clothing of the figures, enhances the painting’s nostalgic and whimsical quality typical of Mays' work. The title plaque on the back provides historical context, describing how people came to Colorado Springs for both riches and health, symbolizing a new society born from the merging of the West with industrial advancement. This picturesque narrative combined with Mays’ folk art style makes it a remarkable piece evoking both history and community. Overall, "Cascade Springs" is a celebration of early American life in a rapidly modernizing town, capturing both its charm and progressiveness through Mays' detailed and stylized artistic lens. Dimensions: 45.5"w x 35"h x 1.5"d (sight) Condition: Good. No issues observed. Ready to hang. About the Artist" Maxwell Mays was born in Rhode Island in 1918, and focused his art on celebrating the landscapes of his home state. Known for their birds-eye perspectives and nostalgic style, Mays' prints have appeared multiple times on the cover of Yankee Magazine. His paintings hang in many establishments, including the University of Rhode Island, and are particular favorites of Rhode Island residents. Mays' artwork often depicts scenes from throughout Rhode Island and the surrounding areas of New England but he did produce works depicting communities from across America . Featuring town squares, farm lands, and harbors, Maxwell Mays' prints celebrate the Americana found in small towns. A graduate of RISD, he began painting seriously while serving in the US Air Force in Brazil during WWII. His first one-man commercial show was at the Ferargil Gallery in New York in 1948. In the ensuing years he became notable for a number of highly successful art shows and magazine covers, and was a highly sought-after speaker and storyteller. As a successful businessman, he was Treasurer of Mays Manufacturing Company, a family business until its sale in the mid-1980s. He was Past President and Director Emeritus of the Providence Art...

Hand signed and numbered edition of 25. 16 x 36" sheet size without frame. “Workshop” is an ambitious color lithograph and linocut with chine collé printed in twelve colors from nine plates and one linocut. It has been printed in an edition of 25, plus proofs, on white Rives BFK paper 16 x 36” with chine collé of various papers. (No, it’s not upside down) Born 1964 in New York where he still currently resides and works alongside his partner the ceramist Kathy Butterly. Son of the photographer Rudy Burckhardt and painter Yvonne Jacquette, Tom Burckhardt was 1986, BFA, State University of New York, Purchase, NY 1992–1993, Skowhegan School of Painting and Sculpture, ME 1996, Marie Walsh Sharpe Art Foundation Studio Grant 1997, New York Foundation for the Arts, Painting Grant 1997 Pollock-Krasner Foundation Grant 2002 George Hitchcock Award, National Academy of Arts 2003, Richard & Hinda Rosenthal Foundation Award, American Academy 2005, AICA Best Show of an Emerging or Underknown Artist 2005 Pollock-Krasner Foundation Grant 2006 Best Installation, Best of Houston, the Houston Press 2009 Guggenheim Foundation Grant 2010, New York Foundation for the Arts Drawing/Print Grant 2010 Joan Mitchell Foundation Grant Tom Burckhardt’s work is a carnival of images jumbled and jostling each other in precarious nonsensical compositions. He uses lushly colored and patterned images from all kinds of sources that bounce between abstraction and representation. Images come from tool catalogs, paper and fabric patterns, funhouse painting, architectural details, stripes, dots and squiggles. It is as if Burckhardt is a cartoonist merrily channeling Ellsworth Kelly, Paul Feeley, Robert Therrien, and Myron Stout, among others. Like Red Grooms, for whom he worked as an assistant, Burckhardt ransacks his influences yet ends up with something unmistakably his own. His work bears the influence of is a synthesis of many things: the tribal-influenced abstract painting of Steve Wheeler...