Amy Bernays Prints and Multiples

This is a cast metal sculpture of a woman and child, mother and baby in a rocking chair. It has a patina on a white metal. Not sure if it is steel or aluminum. It is and older vintage piece and has wear to patina where it sits and rocks on table. It is not signed or numbered and there is no foundry mark. Hence it is being sold as being after or in the manner of Henry Moore. Henry Spencer Moore (1898 – 1986) Moore was born in Castleford, the son of a coal miner. He became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom later endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. Moore's familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. After Moore married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore. In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona. Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.[28] Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. In the 1950s, Moore began to receive increasingly significant commissions. He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris. With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth. Moore produced at least three significant examples of architectural sculpture during his career. In 1928, despite his own self-described "extreme reservations", he accepted his first public commission for West Wind for the London Underground Building at 55 Broadway in London, joining the company of Jacob Epstein and Eric Gill. At an introductory speech in New York City for an exhibition of one of the finest modernist sculptors, Alberto Giacometti, Sartre spoke of "The beginning and the end of history...

Embossed print after Braque, based on his sculpture by the same name. Embossed in the print paper is "'Cephale', Hommage aux bijoux de braque, or fin 23 carat, sculpt heger de Lowen...

Genre: Israeli Subject: Biblical Medium: Print Surface: Paper Dimensions w/Frame: 30 1/2" x 21 1/2"

Bomber And Buckeroos ca. 1939 Till Goodan Offset Lithograph PRINTS ARE IN GOOD CONDITION. PRINTS MAY HAVE SMALL FLAW ALONG EDGE OF PAPER, DOES NOT EFFECT THE PRINT IMAGE All the prints are 26 x 31 inches, Mustang Peeler, Bombers and Buckaroos, The stranger, Guardians of the Range and Range Baby. Note that “The Mustang Runner” is 3 inches shorter in height, 23 x 31 inches The print by Till Goodan was originally a painting and reproduced by the Westward Ho company as a set. Westward Ho produced the most sought after Western dinnerware ever made. The most popular pattern was the Rodeo pattern by Till Goodan. He Illustrated and branded many accessories sold by the Westward Ho Company. Tillman Parker Goodan 1896-1958 To the casual observer his paintings are exciting and colorful. To the scholars of the Western Era they are benchmarks of authenticity. Such is the style of Till Goodan. He was born Tillman Parker Goodan in Eaton, Colorado on March 27, 1896. His father was a true western pioneer, mayor of Eaton, publisher of its first newspaper, and County Commissioner for several years. After moving to California in 1905 and settling on a little farm that bordered the Michel Cattle Ranch, Till spent much of his boyhood with the Michel sons working on their ranch. There he developed his expertise as a calf roper and the skills of a working cowboy. As a young man Till pursued endeavors that would initially callous his emerging artistic hands. He worked for the famous Miller and Lux Ranch in California. He packed mules and ran pack trains into the Sierra Mountains. He broke horses and competed in local rodeos riding saddle broncs and roping calves. And during the quiet hours he would draw pictures of ranch life and the action of the rodeo. People began commenting on his talents as an artist. In 1917 he left the rodeo circuit and turned his full attention to a career in art. He studied with Roger Sterrett, William Paxton, and Dana Bartlett, all highly respected California artists. Till soon became a free-lance commercial artist doing work for Grauman’s Chinese and Lowe’s Theaters, Helms Bakery and Security Bank. He later assumed a position as Art Director for the Richfield Oil Company. However, his first love was still the art of the old west, horses, cowboys, and ranching. So, he left Richfield and gave his full attention to the field of fine arts. He did oil painting, water colors and lithographs. He drew the Gene Autry Comic Books. He illustrated and hand lettered a large collection of stories about famous bucking horses, ranches, horsemen of the world, and western gear. In association with W.C. Wentz, he started producing a complete line of western gift wares, ceramics, bronzes, leather, paper, and fabric. By the 1930′s he was beginning to receive recognition for his western art and by the early 1940s, he and his daughter, Betty, were illustrating comic books for his longtime friend, Gene Autry. Betty was also a world champion cowgirl. Till Goodan designs appeared in virtually every medium. But, the most famous was the four lines of dinnerware produced by Wallace China...

Signed lower right, 'Morihiro Sato' (Japanese, born 1943), with artist chop mark, and dated 1985; titled, lower left, in English and Kanji 'Cherry Trees (Dusk)' with number and limitation, '3/55'. Paper dimensions: 24.25 x 35.5 inches A fresh and unfaded woodblock print showing a view of cherry tree boughs heavy with glowing blossoms before a vista of rolling hills with stylized Japanese pine beneath a luminous, golden sunset. Morihiro Sato graduated from Musashino College of Fine Art before studying under the printmaker Joichi Hoshi (1913-1979). Sato’s work focuses on the beauty of nature, particularly that of trees. Through the medium of woodblock with inclusion of metallic pigments, his delicately atmospheric prints evoke a sense of gentle sense of wonder. *With thanks to Ronin Gallery

A poster belonging to Erik Nitsche's third series for General Dynamics, promoting its Convair Company. Founded 1952, General Dynamics hired Nitsche a...

Blue-toned silkscreen portrait print of actress Marilyn Monroe by legendary photographer Bert Stern. The piece features a blue headshot portrait of Marilyn in blue on a metallic silv...

Lithograph on foil movie poster for the musical western movie "Paint Your Wagon" designed by Peter Max. These posters were distributed to exhibitors show...

After Georges Braque (French, 1882-1963) "L'Oiseau d'Or," embossed cast-paper intaglio with 18K gold paint after Braque's Oiseau brooch design, unsigned, edition number 169/250, Siz...

Together with "Les Musiciennes" one of the largest and most sought after lithographs by Le Corbusier – a purist still-life –, printed by Mourlot on Arches after a collage by LC. Pr...

Together with "Bouteilles" one of the largest and most sought after lithographs by Le Corbusier, printed by Mourlot on Arches after a collage by LC....

Bold woodblock print by Byron Randall (American, 1918-1999). Titled "Schooner + Doryman", numbered "1st ed.", and signed and dated "Byron Randall '62" along the bottom edge. Small am...