Unknown

Decorative Motifs of the Persian Renaissance - Chromolithograph - 20th Century

Early 20th Century

Untitled is a print realized by Giuseppe Capogrossi (Rome, 1900 - 1972). Lithograph on paper Hand-signed lower right, numbered, edition lower left, 56/80 prints. Embossing stamp of...

Gothic Decorative Motifs is a vintage chromolithograph realized by an anonymous artist in the early 20th Century. Good conditions. The artw...

Frank Lloyd Wright's Ennis House, Los Angeles - Lithograph on Paper Clean, modern lithograph of the Ennis House in Los Angeles by Frances Myers (American, 1936-2014). The Ennis House sits at the top of a small hill, cutting a strong line against a soft peach-colored sky. Wright's strong sense of balance is highlighted in this composition, with patterns and lines guiding the viewers eye in various directions around the piece. Numbered, titled, signed and dated along the bottom edge: 7/50 Ennis House - Los Angeles Frances Myers 1980 Paper size: 29.5"H x 38"W Print size: 24"H x 32"W Shipped rolled in a tube. Myers was born on April 16, 1936, in Racine, Wisconsin. She began her studies at the San Francisco Art Institute, but soon transferred to the University of Wisconsin–Madison where she earned a BS in 1962, and an MFA in 1965. Myers employed a variety of printmaking techniques in her career including "relief, photo-etching, and mixed media processes." Myers is best known for her prints depicting various buildings. She once said, “I don’t want to invent a building, I want to bring new life to a building.” Growing up in Racine, Myers was exposed to many of Frank Lloyd Wright's architectural works, and she paid tribute to this in her 1980 work The Frank Lloyd Wright Print...

Ballads Galerie Alexandre Iolas Poster by William N. Copley (CPLY) New-York, Geneve, Milan, Paris 196, Boulevard Saint-Germain William Nelson Copley (January 24, 1919 – May 7, 1996) also known as CPLY, was an American painter, writer, gallerist, collector, patron, publisher and art entrepreneur. His works as an artist have been classified as late Surrealist and precursory to Pop Art. William N. Copley was born in New York City in 1919 to parents John and Flora Lodwell; they died shortly after in the 1919 Spanish Flu epidemic. Copley was adopted in 1921 by Ira C. Copley, the owner of sixteen newspaper companies in Chicago and San Diego. Copley was ten years old whereby the family moved to Coronado Island, California. Copley was sent to Phillips Andover and then Yale University by his adopted parents. He was drafted in the Second World War in the middle of his education at Yale, a decision negotiated by the school and the army. Copley experimented with politics upon returning home from the war, working as a reporter for his father's newspaper. By 1946, Copley met and married Marjorie Doris Wead, the daughter of a test pilot for the Navy. Doris's sister was married to John Ployardt, a Canadian-born animator and narrator at Walt Disney Studios. Copley and Ployardt soon became friends and Ployardt began introducing Copley to painting and Surrealism. The two traveled to Mexico and New York, discovering art, meeting the artists behind the works, and grasping Surrealist ideas. It was during this time that Copley and Ployardt decided to open a gallery in Los Angeles to exhibit Surrealist works. Copley and Ployardt tracked down Man Ray while living in Los Angeles. Ray then introduced them to Marcel Duchamp in New York City. There, Duchamp opened many doors for them, introducing the two to New York dealers in Surrealism. In 1948, Copley and Ployardt opened The Copley Galleries in Beverly Hills, displaying works by artists including René Magritte, Max Ernst, Yves Tanguy, Roberto Matta, Joseph Cornell, and Man Ray. Copley moved to Paris in 1949–50, leaving behind his wife and two children to continue to paint. During his time in Paris, he remained in Surrealist circles and continued to paint with a uniquely American style. Copley's first exhibition took place in Los Angeles in 1951 at Royer's Book Shop. From there Copley participated in numerous solo and group exhibitions worldwide. In 1961, Copley was given an exhibition in Amsterdam by the Stedelijk Museum. The museum became the first public institution to add a Copley to their collection. Copley's paintings throughout the 1950s and 60s dealt with ironic and humorous images of stereotypical American symbols like the Western saloon, cowboys, and pin-up girls combined with flags. His works during this period were often considered a combination of American and Mexican folk art and melded in well with the new young POP movement occurring in America when he returned to New York in the 1960s. Artists like Andy Warhol, Christo, Roy Lichtenstein and many others were frequent visitors at Copley's studio on Lower Broadway. Copley believed that pop art had always interested him, claiming American pop art had much to do with "self-disgust" and "satire." In 1967, after a divorce with his second wife, Noma, Copley and new friend Dmitri Petrov decided to publish portfolios of 20th-century artist collaborations with the abbreviation SMS (for "Shit Must Stop"). Copley's Upper West Side loft became a meeting place for performers, artists, curators, and composers to work together on the open-ended collective. The SMS portfolio...