Michael Mazur

Large American Modernist Monotype Michael Mazur The Lake Expressionist Landscape

1985

Monotype Monoprint Hand signed and numbered 1/1 Lake landscape Sheet: 37.5" X 27" Image: 29.5" X 19.75" Susan Hall lives and works in Point Reyes Station, California, a town in the heart of the Point Reyes National Seashore. This pristine wilderness area is dominated by a mosaic of bays and ocean, rolling grass lands and forests. It is inhabited by a diversity of wildlife, including over 450 species of birds, mountains lions, deer, bobcats, foxes, and elk. Ms. Hall who is a native of this area returned after spending twenty years in New York City. In her book, “Painting Point Reyes”, Hall says, “Point Reyes is the center of my painting life. Point Reyes has been my life and when I haven’t lived here, it has been an underground stream that spoke to me in dreams and visions.” While living and painting in New York City, Ms. Hall exhibited her work widely in museums and galleries. Among them are the Whitney Museum of Art; San Francisco Museum of Art; Nancy Hoffman Gallery, Trabia MacAfee Gallery, Phyllis Kind Gallery, Chicago; Ovsey Gallery, Los Angeles. In addition, her work has been featured in group exhibitions throughout the United States and abroad, including in 2020 Bud Shark's Ink: The California Crew at BMoCA, Boulder Museum of Contemporary Art Colorado USA representing the panoply of aesthetics, cultural backgrounds, viewpoints, and talent held within the bounty of art “made in California.” This remarkable grouping of artists, Brad Brown, Enrique Chagoya, Roy De Forest, Amy Ellingson, Susan Hall, Don Ed Hardy, Mildred Howard, Robert Hudson, Hung Liu, Kara Maria, Rex Ray, Alison Saar, Italo Scanga, and William T. Wiley. Women to the Fore, Hudson River Museum Yonkers 2021 A group of women artists working in oil painting and drawing, lithograph prints and photograph, collage and sculpture. Many icons of feminist art history. Judy Chicago, Judy Giera, Marisol, and Shanequa Benitez, Ann McCoy, Anna Walinska, Audrey Flack, Barbara Morgan, Berenice Abbott, Bessie Potter Vonnoh, Georgia O'Keeffe, Hannelore Baron, Harriet, Judy Chicago, Louise Nevelson, Marisol, Mary Frank, Nancy Graves, Susan Hall, Yvonne Thomas...

Gregory Amenoff (Contemporary American abstract painter, b. 1948), Monotype Monoprint (1990) Hand signed in pencil lower right plate: 16 x 16 inches frame dimensions: 35 1/8 x 29 1/8 x 1 5/8 inches, wood frame with glazing Provenance: Corporate Collection of Bank BNP Paribas Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts and Letters, National Endowment for the Arts, New York State Council on the Arts and the Tiffany Foundation. He has had over fifty one-person painting exhibitions in museums and galleries throughout the United States and Europe. His work is in the permanent collections of more than thirty museums, including the Whitney Museum of American Art, the Museum of Fine Arts in Boston, the Museum of Modern Art in New York and the Metropolitan Museum of Art. His work has the influence of both Abstract Expressionism and Pop Art in it, biomorphic forms in rich hues and thick textures with heightened colors and abstracted, organic forms, late American Modernism. He moved to New York in 1979, the artist rose to critical acclaim in the 1980s alongside Terry Winters, Bill Jensen, and Katherine Porter. The artist lives and works between New York, NY and his Hudson Valley residence. He was a collaborating artist illustrating Bradford Morrow, Bestiary along with Joe Andoe, James Brown, Vija Celmins, Louisa Chase, Eric Fischl, Jan Hashey, Michael Hurson, Mel Kendrick, James Nares, Ellen Phelan, Joel Shapiro, Kiki Smith, David Storey, Michelle Stuart, Richard Tuttle, Trevor Winkfield, Robin Winters. Linoleum cuts with pochoir and woodcuts for the Grenfell Press, New York. Amenoff served as President of the National Academy of Design from 2001-2005. He is a founding board member of the CUE Art Foundation in New York City and serves as the CUE Art Foundation's Curator Governor. Amenoff has taught at Columbia for the last eighteen years, where he holds the Eve and Herman Gelman Chair of Visual Arts and is currently the Chair of the Visual Arts Division in the School of the Arts. He is currently the Vice-President of the National Academy. In 2011 he received the John Solomon Guggenheim Fellowship. Museum Collections Albright-Knox Art Gallery; Buffalo, NY Art Institute of Chicago; IL Baltimore Museum of Art; Brooklyn Museum of Art; Brooklyn, NY Butler Institute of American Art; Youngstown, OH Cleveland Museum of Art; Cleveland, OH Currier Gallery of Art; Manchester, NH Frances and Sidney Lewis Foundation; Richmond, VA Hood Museum of Art; Hanover, NH Honolulu Academy of Art; Honolulu, HW Kemper Museum of Contemporary Art; Kansas City, MO Maier Museum of Art; Lynchburg, VA Metropolitan Museum of Art; New York, NY Milwaukee Museum of Art; Milwaukee, WI Minneapolis Institute of Art; MN Muscarelle Museum of Art, College of William and Mary; Williamsburg, VA Museum of Fine Arts; Boston, MA Museum of Modern Art; New York, NY National Museum of American Art; Washington, DC Neuberger Museum, State University of New York at Purchase; NY New York Public Library, Spencer Collection...

A vibrant Period Mid Century Lithograph of a colorful and Abstract Lithograph. The image with trees in the foreground and central structures backed by mountains in the distance are d...

"Arroyo" is a woodcut and monotype signed by Carol Summers. The print is a break from the usual bright coloring of Summers' images, though is rendered in his typical style and fields of unmodeled color. A pair of trees stand front and center before an arroyo, a Spanish term for an intermittently dry creek, running out to the ocean. A white sunrise glows in the distance beyond the sea. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 14.25 x 14 inches, artwork Numbered from the edition of 120 This print was commissioned by the Madison Print Club, Madison, WI Carol Summers (1925-2016) worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for its large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world, and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction, and Icarus) was shown for the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content, and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision that would have a significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain, and Greece. However, as evidenced in Aetna’s Dream, Worldwind, and Arch of Triumph...