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John S De Martelly

HIEROGLYPHIC
HIEROGLYPHIC

John Stockton De MartellyHIEROGLYPHIC, 1954

$680Sale Price|20% Off

H 12 in W 16 in

HIEROGLYPHIC

By John Stockton De Martelly

Located in Santa Monica, CA

JOHN S. de MARTELLY (1903 - 1979) HIEROGLYPHIC, 1954 Lithograph, signed, no

Category

1950s Abstract Abstract Prints

Materials

Lithograph

Recent Sales

Blue Valley Fox Hunt

Blue Valley Fox Hunt

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1930s American Realist Landscape Prints

Materials

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John Stockton De Martelly for sale on 1stDibs

John Stockton de Martelly was a lithographer, etcher, painter, illustrator, teacher and writer. He was born in Philadelphia and studied at the Pennsylvania Academy of Fine Arts, in Florence, Italy and at the Royal College of Art in London. In the 1930s and 1940s, he taught printmaking at the Kansas City Art Institute to the same students, who studied painting with Thomas Hart Benton. De Martelly became a close friend of Benton and was influenced by his Regionalist style. When Benton was no longer at the Art Institute, the Board of Governors offered de Martelly Benton's job as head of the Painting Department, to which he declined. De Martelly's lithographs sold through the Associated American Artists Galleries in New York in the 1930s and 1940s, captured the essence of the rural American landscape. Eventually, he took a position as the artist-in-residence at Michigan State University in East Lansing. By the late 1940s, he abandoned Regionalism for Abstract Expressionism and closely studied Honore Daumier. His drawings, paintings and prints are now in the collections of many museums, including the Victoria and Albert Museum in London, the Corcoran Gallery of Art in Washington, D.C., Kresge Art Museum in East Lansing, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art in Kansas City, the Detroit Institute of Art and the Whitney Museum of American Art.JOHN STOCKTON DE MARTELLY (USA, 1903–80)

Finding the Right Prints And Multiples for You

Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

Find fine art prints for sale on 1stDibs today.