Abstract Expressionist Prints and Multiples

Red Angel, intensely and seductively colored: swooning purples and reds, ecstatic lemon yellows, and black construction paper. Jostling shapes, geometric and biomorphic, lyrical and hard-edged, refuse to resolve neatly Assemblage, a bold strategy to keep viewers unsettled and curious, the reward for which are profuse and luscious details: varied incidents of refinement, suggestive signs, most in a private code, not merely ornamental but integral to the overall message. William Scharf (born 1927, Media, PA) is an American artist from New York, he teaches at The Art Students League of New York. Painting with acrylics, he was a member of the New York School movement. Often categorized as a late generation Abstract Expressionist, Known for producing paintings with abstract compositions incorporating biomorphic and geometric forms in vivid colors, the artist was influenced by Surrealism, the Color Field painters, and symbolism. He apprenticed with Mark Rothko and was influenced by his color field paintings. The surrealist painter Arshile Gorky and the Abstract expressionism style found in 1950s New York City also influenced Scharf. His exhibits include San Francisco Art Institute (1969), the Pepperdine University's Frederick R. Weisman Museum of Art (2001), and Richard York Gallery in New York City (2004). In the heyday of Abstract Expressionism, being serious meant following the tenets of the New York School, which required abstract paintings to be spontaneous improvisations, the messier the better. At once hedonistic and disciplined, his brazen paintings are nothing if not promiscuous. The best ones mix the dynamism of gestural abstraction with sensual rhythms of decorative patterning, sometimes souping up the stew with cartoonish symbols and flourishes so ripe they belong in a dandy's fantasies. His exhibits include San Francisco Art Institute (1969), the Pepperdine University's Frederick R. Weisman Museum of Art (2001) and Richard York Gallery in New York City (2004). Scharf's work has been exhibited in a number of galleries, including the Anita Shapolsky Gallery, Meredith Ward Fine Art, and Hollis Taggart Galleries in New York City. Scharf has been an instructor of art at various institutions including The Art Students League, the San Francisco Art Institute, and the School of Visual Arts in New York. He is a member of the Society of Illustrators and the Artists Equity Association. EDUCATION 1944-49 The Pennsylvania Academy of the Fine Arts — Philadelphia, PA (1948 Cresson Scholar) 1949 The University of Pennsylvania — Philadelphia, PA 1948 The Academie de la Grand Chaumiere — Paris, France 1947 The Barnes Foundation — Merion, PA 1939-41 Samuel Fleisher Memorial School— Philadelphia, PA (also known as Graphic Sketch Club) TEACHING HISTORY Instructor: Painting & Drawing 1987-Present Art Students League, New York, NY 1989, 74, 69, 66, 63 San Francisco Institute of Fine Arts, San Francisco, CA 1965-69 he School of Visual Arts, New York, NY 1964 Art Center of the Museum of Modern Art, New York, NY Guest Lecturer 1979 Pratt Institute, New York, NY 1974 Stanford University, Palo Alto, CA 1974 California College of Arts and Crafts, San Francisco, CA Recent Solo Exhibitions: 2005 Meredith Ward Fine Art, New York, NY 2004 Richard York Gallery, New York, NY 2002 P.S.1/MOMA, Queens, NY 2001 The Frederick R. Weisman Museum of Art, Malibu, CA 2000-2001 The Phillips Collection, Washington, DC Selected Group Exhibitions: 2005 National Academy of Design, New York, NY 2005 Peter McPhee Fine Arts, Stone Harbor...

Artist: Robert Motherwell Title: Tricolor 137 Year: 1973 Medium: Offset Lithograph, signed in the plate Size: 15 x 10.5 in. (38.1 x 26.67 cm) Frame: 19 x 16 inches Published by XXe ...

Figures in Landscape is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1967. The print suite was realized in 1985 in a limited edi...

Beautiful 1994 monotype painting by American artist, David Chamberlain (b.1950). Oil on Arches paper, image measures 16.5 x 21.5 inches; sheet measures 22 x 30 inches. The subtle variations of the oil application are quite lovely. Signed by the artist in pencil, lower margin. Printed on Rives heavy wove paper. Excellent, clean condition with no damage or restoration. Unframed: sheet is loose with no backing. Ships rolled in tube with glassine paper. David Chamberlain (American, b Canton, Ohio 1949) has been a full-time artist since 1977, and has created more than 2000 original works in both two and three dimensions. Over 100 of his works appear in the collections of recognized arts institutions and museums, worldwide. A serious and passionate musician (a cappella jazz singer with three recording albums and over 700 concerts in this avocation), Chamberlain's artistic approach and imagery is inspired by studies of musical patterns and relationships. Other influences include topology, poetry, design and flying. His sculptures are noted for their playful explorations of lyrical, melodic edges and harmonious spaces. The surfaces are all one continuous form; the insides become the outsides and vice-versa; the edges are all one line. Mediums include mahogany, bronze, titanium, gold, and ceramic/porcelain. His paintings reflect an enthusiasm for composition and improvisation. Chamberlain has developed a way to create original oil paintings using methods adapted from monotype processes incorporating a light table and mirrors, an etching press, and a variety of hands-on tools (including fingers, rollers, static electricity and blowing)... but no brushes. This method, sometimes called the Chamberlain Method, makes possible the intense collaborations he is known for, where he and another artist work on the same painting at the same time. Called Duett Painting, this mutual and simultaneous way for two artists to paint together attempts to involve the backgrounds of each, directly and profoundly. There are no rules, and there is no place to hide whoever the artists are appears in the composition. As each artist's marks influence the other's, the painting takes on a momentum of its own, compelling the artists toward a new direction neither would have pursued on their own. Chamberlain has worked with over 100 artists, musicians, dancers, poets and creative people from the USA, Asia, Europe, South America and Africa. About half of his paintings are collaborative duetts; half are conventional solo works using these techniques. His studio is based near Boulder, Colorado. He is married, with two children, a dog and three cats. EDUCATION MLA University of Colorado 2002 Landscape Architecture MFA University of Pennsylvania 1977 Sculpture & Printmaking BA Princeton University 1971 Architecture & Design SELECTED EXHIBITIONS Consulate of Japan, San Francisco, CA 1999, 1998 Major Shows Muse a Muse' Gallery, Tokyo, Japan 1997, 1999 Retrospective: "Solos, Duets & Concertos" Muskegon Mus. of Art, MI 1996 "Duets" Delaware Museum of Art, Wilmington, DE 1995 MacLaren/Markowitz Gallery, Boulder, CO 1991 Retrospective: McKissick Museum of Art, Columbia, SC 1990 Retrospective: The Art Complex Museum, Duxbury, MA 1988 Pucker Gallery, Boston, MA 1981, 1984, 1988 Gibson Gallery, SUNY at Potsdam, NY 1987 Arlene McDaniel Galleries, Simsbury, CT 1986 Lyme Academy of Fine Arts, Old Lyme, CT 1985, 1986 Gallerie Obussier, Nantucket, MA 1985 New Acquisitions Gallery, Syracuse, NY 1983 Everson Museum of Art, Syracuse, NY 1983 COMMISSIONS: Operhall Suite; [Series of 6 original works] Muskegon Museum of Art 1994 Symphony Suite; Gibbes Museum & Charleston Symphony Orchestra 1994 Gospel Suite in F; New England Conservatory of Music, Boston, MA 1994 Eroica; Morgridge Auditorium, University of Wisconsin, Madison, WI 1992 Balletté; Southworth Library, Canton College, Canton, NY 1991 A Une Passante; M. C. Wallace Library, Wheaton College, Norton, MA 1991 Festivale; K. B. K. Foundation, Boston, MA 1990 A Une Passante; SUNY Potsdam, Potsdam, NY 1989 Balletté; Ensign-Bickford Corp., Simsbury, CT 1987 Torus; Stratus Computer, Inc., Marlboro, MA 1986 Rondella; BNWC, Brandeis University, Waltham, MA 1985 Viole, Ayre; Asset Management, Inc., Essex, CT 1983 Cantata; Horne Library, Babson College, Wellesley, MA 1981 COLLECTIONS Museums Art Complex Museum, Duxbury, MA Ashmolean Museum, Oxford University, England Asian Art Museum, San Francisco, CA British Museum, London, England Columbia Museum of Art, Columbia, SC Currier Gallery & Museum, Manchester, NH Danforth Museum, Framingham, MA Davis Museum of Art, Wellesley, MA DeCordova Museum, Linclon, MA Delaware Museum of Art, Wilmington, DE Denver Art Museum, Denver, CO Detroit Institute of Arts, Detroit, MI Everson Museum of Art, Syracuse, NY Farnsworth Museum of Art, Rockland, ME Fine Arts Center at Cheekwood, Nashville,TN Fitzwilliam Museum, Cambridge University, England Gibbes Museum of Art, Charleston, SC Gibson Gallery & Museum, SUNY Potsdam, NY Greenville County Art Msueum, Greenville, SC Hara Museum of Contemporary Art, Tokyo, Japan Johnson Museum of Art, Ithaca, NY McKissick Museum of Art, Columbia, SC Minneapolis Institute of Art, Minneapolis, MN Munson-Williams-Proctor Institute of Art, Utica, NY Museum of Fine Arts, Boston, MA Museum of Fine Arts, Springfield, MA Muskegon Museum of Art, Muskegon, MI National Museum of American Art, Washington, DC Nelson Museum of Art, Kansas City, MO New Britain Museum of American Art, New Britain, CT Portland Museum of Art, Portland, ME Portland Art Museum, Portland, OR Princeton University Art Museum, Princeton, NJ Rose Art Museum, Waltham, MA San Diego Museum, San Diego, CA Smith College Museum of Art, Northampton, MA Taylor Museum/CSFAC, Colorado Springs, CO University of Michigan Museum of Art, Ann Arbor, MI Victoria & Albert Museum, London, England Wadsworth Athenaeum, Hartford, CT Williams College Museum of Art, Williamstown, MA Yale University Art Gallery, New Haven, CT Institutions American Embassy, Tokyo, Japan [selected] Arjo Wiggins/Arches S.A., Annonay, France Bank of America, Boston, MA Boso Yusi Company, Tokyo, Japan Boston Ballet, Boston, MA Canadian Foreign Ministry, Ottawa, Canada Chase Manhattan Bank, Vietnam Embassy of Japan, Abu Dhabi, United Arab Emirates FIA Institute, Tokyo, Japan Fidelity Ventures & Associates, Boston, MA Frederik Meijer Sculpture Gardens, Grand Rapids, MI Gauteng Legislature, Gauteng, South Africa German Embassy to Vietnam, Hanoi, Vietnam Helix Technology Corporation, Longmont, CO Ito-En Company, Tokyo, Japan JAFCO America Ventures, Boston, Palo Alto, Tokyo Japanese Consulates: Boston, MA; Atlanta, GA; San Francisco, CA Japanese Foreign Ministry, Tokyo, Japan Japan External Trade Organization, New York, Tokyo Kepner-Tregoe Company, Princeton, NJ Kobe Steel, Ltd Tokyo, Kobe Mochida Medicines, Inc., Tokyo Monsanto, European Division, Brussels, Belgium New England Conservatory of Music, Boston, MA Nueva Set-Kei, Inc. Tokyo, Japan Opinion Research Company, Princeton, NJ PAR Associates, Inc., Boston, MA Price, Waterhouse & Company, Greenwich, CT Princeton Club of Japan, Tokyo, Japan Saint Joseph's Heart Hospital, Lexington, KY Spencer, Fane & Browne; Shugert & Thomson, Kansas City, MO Temple Society of Concord, Syracuse, NY T. Rowe Price, Inc., Colorado Springs, CO University of Wisconsin School of Business, Madison, WI Vietnam Embassy to Canada, Ottawa, Canada Yankelovich, Skelly & White, Stamford, CT COLLABORATIONS Johannesburg, South Africa (& Artist Proof Studio) 1997 Duetts with: Kagiso Pat Mautloa, Durant Sihlali, Mmakgabo Sebidi, Dumisane Mabaso, Nhlanhla Xaba, Pepe Abela, Vincent Baloyi, Ntepe Osiah Masekwameng, Gordon Gabashane, Sokhaya Nkosi Vietnam (& Indochina Arts Project) 1995 Fine Arts Associations, Saigon, Hue and Hanoi; Ecole des Beaux Arts, Hanoi Duetts with: Do Minh Tam, Hoc Hai, Huy Oanh, Le Anh Van, Le Thong, Le Van Suu, Manh Tuan, Mai Khanh, Nghia Duyen, Thuc Ban, Tran Khan Chuong, Tran Luong Studio Duetts 1995-2001 With: Yuji Kishimoto (Architect -- Japan/USA), Emi Tajima (Japanese master caligrapher), Nguyen Quynh Nhu (Vietnam), Eduardo Chavez & Arturo Miranda (Mexico), Kyi May Kaung (Burmese Poet), Patrick Moraz (Swiss/American composer/performer), Jingalu (Aboriginal Australian artist), Rungsak Dokbua (Thailand), and Americans Don Grusin (Composer/performer), Dave Grusin (Composer/performer), Harry Skoler (Composer/performer), Sarah Schneider (Dancer/choreographer), Sally Ranney (artist/humanist), Cleo Parker Robinson (Dancer/choreographer) China (PRC) 2001-2004 Proposal for an Artistic Collaboration with China, 2001-2004 (38 pages). Involving ten Chinese Artists, streaming on the internet, development of 160 museum-quality Duett paintings for world-wide exhibition; budget 1.6 million USD. HIGHER EDUCATION Visiting Artist [Associate Professor One-year appointment] 1990/1991 Art Department, University of South Carolina Adjunct Professor 1991-1994 Art Department, Rivier College, Nashua, NH Fellow/Panelist The Aspen Institute Aspen, CO 2000 Conference on World Affairs [Univ of Colo, Boulder] 1990-1998 Visiting Artist Haverford School, Bryn Mawr, PA 1999 Clemson University, Clemson, SC 1997, 1998 African Institute of Art, FUNDA Soweto, South Africa 1997 Princeton University 1996 Williams College 1995 Bradford College 1994, 1998 College of Charleston 1994 University of Pennsylvania 1993 University of South Carolina 1990, 1994 SUNY Albany 1992, 1993 Pine Manor College 1987, 1989 Bentley College 1988 Simon's Rock/Bard College 1988 Brandeis University 1986 Lyme Academy of Fine Arts 1985, 1986 Emerson College 1985 Harvard University 1984, 1985 Mount Holyoke College 1984 Syracuse University 1983 Colorado College 1977 Director; Artist in Residence 1974-1977 Arts College House, University of Pennsylvania Taught Drawing (figure & still-life) and Photography Initiated Interdisciplinary Program: Dance, Music, Poetry, Theatre, Film, Architecture, Art SCHOOLS & PROGRAMS Instructor, Photography & Visual Arts 1974-1976 Adirondack Lakes Center for the Arts Chair, Performing Arts Department 1971-1974 Purnell School Instructor, Visual Arts Department 1970-1974 Purnell School [Taught (& developed syllabi for) 21 Studio arts courses] Juror, College Entrance Examination Board Area: Fine Arts 1972 AWARDS Selection Who's Who: in American Art; in the East; in the World Grants Krasner-Pollack Foundation Emergency Grant, 1999 Indochina Arts Project (Ford Foundation) 1994 Individual Artist Grant, South Carolina Arts Commission 1991 K. B. K. Foundation, 1991, 1994 High Meadow Foundation, 1990 Ford Venture Fund Grant [Univ. of Pennsylvania] 1975-1977 Haas Memorial Fund Fellowship, 1976 GRANTS IN KIND Kodak, Rochester, NY Papeteries Canson & Montgolfier, Annonay, France; Royal Talens BV Oil Paints, Apeldoorn, Holland Takach Etching Press Corp., Albuquerque, NM South African Airlines; American Airlines Korean Airline; Trans World Airlines PUBLICATIONS Film segmant Video Jukebox DeCordova Museum of Art, Linclon, MA 1999 Film David Chamberlain: Artistry in Motion {30 minutes} SC-ETV/PBS 1992 Book Melodic Forms: The Sculpture of David Chamberlain {75 pages, color} 1990 David Godine, Publisher Boston, MA Videotape Search for Perfection; {16 minutes} FIS/Pucker Safrai 1982 Award: Red Ribbon Category: The Arts American Film Festival, New York INTERVIEWS All Things Considered, National Public Radio Weekend Edition, Monitor Radio & Public Radio International CNN Headline News, Atlanta, GA International News Scene, Reuters Press International, New York/Hong Kong Terra Infirma, Corp. for Public Broadcasting BBC World, London Art Scene, S. Carolina Public Radio Jazz Times, Blue Lakes Public Radio, Grand Rapids, MI Conversations with Jean Feraca, Wisc. Public Radio, Madison, WI WBZ-TV Boston, MA WCNY-TV Syracuse, NY WNPE-TV Watertown, NY WSBK-TV Boston, MA WERS-Radio Boston, MA RELATED EXPERIENCE Designs Arts College House (Program) ; University of Pennsylvania, Philadelphia, PA 1975 Performing Arts Center (Architectural); Purnell School, Pottersville, NJ 1973 Fine Arts Center (Architectural); Purnell School, Pottersville, NJ 1971 Diplome Centre Audio Visuel Langues Modernes, Vichy, France 1973 School for International Training, Experiment in International Living, Putney, VT 1973 Graduate Credits Teaching Studio Art Institute, Colorado College, 1972 Consultant Sculpture Walk Project Univ. of South Carolina, Architectural Facilities Planning 1990/91 "How to create, fund and impliment a self-sufficient world-class sculpture collection" Speaker "[Man] In The Arena" , Haverford School, Haverford, PA 2000 "Architecture & Painting" Clemson University Dept of Art & Architecture, AIA Lecture 1997 Reflections on Creativity" Am. Inst. of Architects Convention, Highlands, NC 1994 "Neurons, Notes & Sketches", Conference on Art & Mathematics Albany, NY 1993 "Music into Sculpture", Conference on Art & Mathematics Albany, NY 1992 "On the Creative Process", Empire State Plaza Art Collection Albany, NY 1993 "Creativity and Fullfillment", Conference on Health & Spirituality Boston, MA 1991 Vocalist & Cahoots (jazz a cappella quartet) 1974-present Album Recordings: "Released" (1993) ; Arranger "Haven't We Met" (1991); All Good Children (octet) 1972-74 Album: "All Good Children" (1980); Canto Ergo Sum (sextet) 1971-72; The Footnotes (double sextet) 1967-1971 Album: "Another Summer...

LEONARD EDMONDSON (1906 – 2001) WINTER GARDEN, 1957 Color intaglio, Edition 50. signed, titled and no. in pencil. Image 11 x 8 ¾”, sheet 15 ¾ x 12 3/8”....

Untitled. SF-353 from “Papierski Portfolio” 1992. Signed by the artist. Artwork size : 56 x 76 cm Frame size : 75x97x4 cm Museum glass anti-reflective. Signed AP (artist proof) Sam Francis Archive Number: SF-353 Publisher: The Litho Shop, Santa Monica. Free shipment worldwide. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

A very good impression of this color screenprint on cream wove paper. Signed and numbered 112/126 in pencil by Frankenthaler. Printed by Brand X Editions, Ltd., New York. Published b...

Damien Hirst - STUDLAND BAY Date of creation: 2023 Medium: Laminated Giclée print on aluminium composite panel Edition: 601 Size: 120 x 90 cm Condition: Brand new and never framed T...

Pond , 70x70cm, print on canvas Edition of 20 pieces

Hand signed and numbered 62/75 Frame: 38" X 46" Image: 22" X 30" Juan Sebastián Barberá Durón Plastic artist Cd. de México 1964 Son of the great musical artist Luisa Durón, Mexican harpsichordist, daughter of pianists Jesús Durón Ruiz and Julia Crespo considered a pioneer of the movement and musical flourishing of the Renaissance and Baroque periods and the initiator of the harpsichord school in Mexico .he grew up in an almost Renaissance environment, among artists and under the main protection of the baroque music of Bach and Hotteterre, Couperin and Scarlatti , among others. Since a very young age, he had a great talent for drawing, painting and sculpture and at the age of ten he won the National School contest of art. From there on, he studied painting and engraving with significant teachers, and was dedicated in a very clear way to the plastic arts from the age of 17 years, after a mystical trip to India. He continued his studies at the academy of San Carlos...

Tom Alan Lieber, (American, born 1949), GTW #11 -7, 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, ...

Artist: Antoni Tapies Title: Art 6 '75 Year: 1975 Medium: Lithograph Signed and numbered 114/150 bottom left with publisher's blindstamp In excellent condition. Dimensions: 35.25 x ...

Marc Chagall (1887-1985) "Daphnis Discovers Chloe" from ...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of American artists that radically defined abstraction and establish...

This artwork titled "Tapestry" c.1990, is an original colors woodcut on thin paper paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled and numbered 1/50 in...

Mark Tobey, American (1890 - 1976) - Summer Joy, Year: 1971, Medium: Color Aquatint, signed, numbered and dated in pencil, Edition: 10/96, Image Size: 10.75 x 8.75 inches, Frame Si...

Artist: Louisa Chase, American (1951 - 2016) Title: Untitled (Spooks) Year: 1987 Medium: Lithograph, signed and numbered in pencil Edition: 30 Paper Size: 30 x 44.5 Inches (76.2 x 1...

Artist: John Chamberlain Title: Flashback VII Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 175 Paper Size: 28 x 20 inches

WERNER DREWES (1899 - 1985) CASTLE ROCK WYOMING (Jackson Hole), (Rose RIII 194) Color woodcut Total edition XXX, Signed, annotated AP and dated '58 in...

Edition of 20 pieces

Edition of 20 pieces

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over thi...

Wassily Kandinsky - Improvisation 11 1910 Lithograph in colors on Arches paper, 1990 Paper size 24" x 24" inches Image size 18" x 20" inches Stamped signature Blindstamps of the Russ...

Gerhard Richter Untitled Abstract Picture, 2002 Offset lithograph on GardaMatt Art 250 GSM paper Limited Edition edition of 3433 12 1/2 × 16 3.5 inches Unframed Accompanied by gallery issued Certificate of Guarantee Printed on GardaMatt Art 250 GSM paper, this beautiful and colorful piece was part of a portfolio of loose plate reproductions for Gerhard Richter's Abstraktes works. Released during his exhibitions at the San Francisco Museum of Art (Abstract Pictures) and the Museum of Modern Art (Gerhard Richter, 40 Years of Painting). It depicts Richters Oil on Aluminum abstract picture) More about Gerhard Richter: Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other. Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint. Richter’s earliest paintings in Düsseldorf, stimulated by a fascination with current affairs and popular culture, responded to images from magazines and newspaper cuttings. Through the 1960s, Richter continued to address found and media images of subjects such as military jets, portraits, and aerial photographs. Notably, he reimagined family pictures he had smuggled from East Germany that included his smiling uncle Rudi, dressed in a Nazi uniform...

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). ABOUT THE ARTIST Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...

Edition of 20 pieces

JACKSON POLLOCK (American, 1912-1956) Untitled, CR1091 (After Painting Number 7, CR324), 1951, printed 1964 Screenprint, on Strathmore wove paper, numbered in pencil lower left, and with the Estate of Jackson Pollock 1964 blindstamp lower left From the second posthumous printing of 50 authorized by his widow, Lee Krasner in 1964 (there was also a lifetime edition of 25) Published by Bernard Steffen...

Sam Francis, American (1923 - 1994) - Chicago International Art Exposition, Year: 1989, Medium: Poster, Size: 56.5 x 36.5 in. (143.51 x 92.71 cm), Printer: Black Box Collotype ...

JOHN CHAMBERLAIN Leo Castelli Invitation, 1976 Offset Lithograph invitation 21 1/2 × 16 inches Unframed This rare vintage offset lithograph invitat...

Untitled Engraving, drypoint & carborundum, c. 1960's Signed and numbered in pencil lower margin (see photos) Edition: 25 (9/25) Printed by the artist Condition: Adhesive residue on ...

Abstract expressionist print by American artist Michael Steiner, who is most commonly known for his large scale sculptures. Michael Steiner, American (1945) Date: 1979 Screenprint,...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning 1950. The print suite was realized in 1985 in a limited edition of 2500, a...

This is an unique large one-off Artist Proof, its outstanding hand-painted quality and its visual presence promises to bring huge impact to your space. The Proof is 80% hand-painted ...

This is an exclusive handprinted limited edition cyanotype. "Nighttime Firework Flaring" is a beautiful cyanotype of the New Years Eve Fireworks Lights. Details: + Title: Nighttime ...

JOHN CHAMBERLAIN Untitled, 2006 Digital monoprint on canvas, mounted on wood. Unsigned. W 9 1⁄4” x H 90 1⁄2” Chamberlain began to explore photography in the late 1960s, but it wa...

Fruit and Flowers monoprint by Calman Shemi Calman Shemi, sculptor and painter, was born in Argentina in 1939. A graduate of the School of Sculpture and Ceramics in Mendoza, he studied under the Italian-Argentinean sculptor Libero Badii whom he credits with putting him on the right path. “He taught me principals, not only related to sculpture, but human and philosophic principals. Shemi also carefully studied the work of such masters as Pablo Picasso, Caravaggio, Frank Stella and Henri Matisse. “From each one of these great artists I learned something from observing them,” he says. In 1961, at the age of 20, Shemi immigrated to Israel and joined Kibbutz Carmia of which he was a member for twenty years. There he worked in agriculture and also as a sculptor working with wood and clay. Several of his large-scale fiberglass and polyester sculpture projects are situated in public buildings. He was a student of German-Israeli sculptor Rudi Lehmann, a pioneer of the artistic movement known as “Canaanism.” Canaanite art was an effort to create a direct relationship with the land, bypassing historic Jewish connotations—hence the land’s primordial name is used. Canaanite works, with an emphasis on the inter-action of simple shapes, bear a deliberate resemblance to the sculpture and ritual art of early civilizations of the Middle East prior to Judaism, always with an eye to the fusion of man and the land itself. Though sculpture dominated his early years as an artist, in the mid ’70s Shemi developed the idea of the “soft painting” medium. Beginning with a color drawing done to scale, Shemi layers onto the drawing irregularly shaped pieces of variously textured and colored fabrics. Using a threadless 9,000-needle sewing machine, the fabrics are meshed to one another and to the background, resulting in vibrant wool tapestry carpet compositions infused with exuberant color and explosive movement. Over the years, Shemi has continued to challenge himself with new artistic mediums, developing two more techniques of painting: “Lacquer paintings” and “window paintings.” He also works in monotype, lithograph and silkscreen techniques. He creates his Lacquer Painting by applying vibrant colors to wood or metal panel that has been gilded with gold or silver leaf, and sometimes both. After the oil paint has thoroughly dried, many layers of lacquer are applied to the surface giving it a glowing effect. Between each layer of lacquer the piece is hand-polished to give the surface its very shiny look. Shemi’s “lacquer” and “window” paintings are reminiscent of ancient techniques used centuries ago in Japan and China. Shemi concludes, “All of the art that I create is full of optimism and beauty. That’s all. Simple, very simple.” During the past eighteen years Shemi has held more than seventy one-man shows in the U.S., Japan, Germany, Spain, Belgium and Israel. His works can be seen in many public and private collections around the world. He is of a generation of contemporary Israeli artists, somewhat influenced by pop art that include Alex Pauker...

Origiinal French poster: La Marseillaise (English) Messangeries Maritimes. Serves the Mediterranean original vintage European travel poster....

Artist: After Helen Frankenthaler (1928-2011) Title: Solar Imp (Lincoln Center Salute’s the New York City Ballet) Year: 2001 Medium: Silkscreen poster on extra thick Somerset paper E...

Edition of 20 pieces

A very good impression of this color screenprint on Arches. Signed, dated and numbered 125/150 in pencil by Gottlieb. Printed by Kelpra Studio, London, with the ink stamp verso. Publ...

A very good impression of this scarce offset lithograph on cream wove paper. Artist's proof, aside from the edition of 100. Signed in ink, lower right, and inscribed "A/P" in pencil,...

Lithograph on Japon à la main, attached with chine appliqué to vélin d’Arches paper. Paper Size: 21.5 x 17.875 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From th...

Francesco Clemente (Italian b. 1952), 'This side up / Telemone #2, 1981 Medium: Intaglio hard ground etching, color aquatint, drypoint, and soft-ground etching with chine collé (ha...

Artist: Gabor Peterdi, Hungarian (1915 - 2001) Title: Hawaii Year: 1969 Medium: Color Etching on BFK Rives paper, signed and numbered in pencil Edition: 146/200 Image Size: 10 x 7 in...

Robert Motherwell (1915-1991), alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, made up the quartet of abstract painters that radically defined Modern painting in Ameri...

Richard Proctor (1936-2022) was a prolific and versatile artist who produced various works, including written and pictorial experiments. He received a Bachelor of Science in Art Educ...

Untitled is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1968. The print suite was realized in 1985 in a limited edition of 2500...

Artist: Helen Frankenthaler (after), American (1928 - 2011) Title: Live from Lincoln Center, 20th Year (Eve) Year: 1995 Medium: Lithograph Poster, signed in the plate Size: 48 in. x ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 110, published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 149, published by Aimé Maeght, Éditeur...

Louise Bourgeois Homely Girl, A Life, Volumes I and II (Literary books with 10 original etchings) Hand signed by both artist Louise Bourgeois and Pulitzer winning playwright Arthur M...

This lithograph is a piece of my private collection from artists of the 20th Century. It is original, signed by artist and numbered 217/220. It is vibrant in color and in very good...

Abstract portrait Limited edition lithograph Signed, numbered 289/325 Amleto Dalla Costa was an Italian painter and sculptor known for his abstract and ...

The artwork images you see above - Title: "Pro-1945". It is a giclee limited edition print from one of my original digital drawings, prin...

Size includes frame. There is a plate impression at the image that leads me to believe this is an aquatint. Antoni Tàpies i Puig, 1st Marquis of Tàpies (Catalan: 13 December 1923 – ...

"Venus Noire" by Rufino Tamayo is a Figurative Abstraction lithograph limited edition measuring 30x22 in. The piece is framed beautifully with a white mat in a gold and black frame u...

extract from the catalogue raisonné: CR 309 Signature:Signed “Motherwell” in pencil lower right Inscriptions:Numbered in pencil lower right; workshop chop mark lower right; workshop...

In excellent condition from an edition of 50, this piece is beautifully framed in museum-quality materials. Al Held is best remembered for his large-scale paintings of bright, hard-e...

Jules Olitski Mozart Night, 1992 Silkscreen on wove paper Signed, dated, titled and numbered 71/108 in graphite pencil on the front Edition 71/108 47 × 36 inches Unframed Silkscreen ...

Mark Tobey, American (1890 - 1976) - Sonata, Year: 1975, Medium: Screenprint on Richard Des Bas, signed and numbered in pencil, Edition: 100, Image Size: 16 x 19.5 inches, Size: 21...

Artist: Gabor Peterdi, Hungarian (1915 - 2001) Title: Hawaii Year: 1969 Medium: Color Etching on BFK Rives paper, signed and numbered in pencil Edition: 146/200 Image Size: 10 x 7 in...

Unknown Artist - Abstracted Screen, Medium: Lithograph, Image Size: 12 x 12.5 inches, Size: 15 x 16 in. (38.1 x 40.64 cm), Description: Signed "Kathy Salleut" in pencil lower right

Figures in Interior is an offset and lithograph print realized on Fabriano Paper after a drawing by Willem De Kooning of 1955. Signed o the plate on the lower. The print suite was...

Okaga - Abstract Composition, Year: 1998, Medium: Screenprint Monoprint, signed and dated in pencil, Size: 15.75 x 12 in. (40.01 x 30.48 cm)

Richard Proctor (1936-2022) was a prolific and versatile artist who produced various works, including written and pictorial experiments. He received a Bachelor of Science in Art Educ...

This print is part of my private collection. They were published in a numbered unsigned edition of 1000, and a signed edition of 200, printed by Serifraphie Fernand Leger, Paris and ...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Artist: Raymond Parker, American (1922 - 1990) Title: Untitled 15 Year: 1980 Medium: Silkscreen, signed and numbered in pencil Edition: 70 Image Size: 31 x 36 inches Size: 32 x 37.5 ...

Robert Savoie, Canadian (1939 - ) - Montezuma, Year: 1975, Medium: Etching on BFK Rives, signed, numbered, titled and dated in pencil, Edition: 43/60, Image Size: 17.5 x 17.75 inch...

"Insignia" #1 Hand Made Paper Aquatint Abstract Tactile Abstract on handmade paper by David Dodsworth (English, b-1952) David’s work is typified by his...

John Hultberg After The Party - 1977 Print - Silkscreen   26'' x 34'' Edition: signed in pencil and marked 168/200 Unframed In Excellent Condition Jo...