Bengt Bockman Art

Bright vibrant blue, yellow lithograph in color. This is signed in the plate and dated. Dufy's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly developed by Cowell's of Ipswich, and proofed under his supervision. The original edition called for 3000. I do not know how many were actually printed. The sheer logistics of the operation, the costly effort of distribution to over 4000 schools, finally ended the great adventure of the School Prints...

Pencil signed and dated, Russian Soviet Judaica Lithograph. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. His...

Eugene Fitsch, 'Broadway Night (Times Square)', lithograph, 1932, edition 25. Signed and dated '32' in pencil; signed in the stone, lower left. A fine, richly-inked impression, on off-white wove paper, with full margins (1 to 5/8 inches), in excellent condition. Matted to museum standards, unframed. ABOUT THE ARTIST Eugene Fitsch was born in Alsace-Lorraine, France, December 11, 1892, and came to the United States at the age of 21. Trained as a bookbinder, he worked at the Buffalo Public Library and received his first art training at the Albright Art Gallery. He was awarded a one-year scholarship to the Art Students League and studied painting and sculpture. Upon completion of his studies, Fitsch began a successful career as a scenic painter and set designer. He also took evening classes in printmaking at the Art Students League under Mahonri Young. Upon Young’s resignation in 1924, Fitsch was appointed instructor in etching and lithography, a post which he held for the next ten years. Fitsch also spent summers working at the Old Lyme Art Colony during the 1920s. In 1930 Fitch began his long association as scenic designer for the summer season of the Cape Playhouse in Dennis, Massachusetts, where he worked with many of the leading actors and artists of the period. Fitsch chronicled the golden age of New York theater and dance from behind the scenes. He portrayed many of the important early modern dancers including Harold Kreutzberg, Martha Graham, Charles Weidman, the Denishawn Dancers, Helen Tamiris and Esther Junger. Scenes from original theatrical productions figure prominently in his artistic output, including plays by Eugene O’Neill, e.e. cummings, and the directors Robert E. Jones, Max Reinhardt...

Leonor Fini - Walking Dead - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle ...

Leonor Fini - Walking on Death - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris...

Associated American Artists published "Sleeping Car" by James Hendershot. This image shows a rail car filled with passengers and conductors. This exhibit...

Woman is an original artwork realized by Louis Bertomme Saint-André. Colored lithograph on paper. Hand-signed in pencil by the artist on the lower right. Signed on plate on the lowe...

Wonderful figurative lithograph of a group of four nude figures in sable brown and gray palette by Hans Erni (Swiss, 1909-2015) circa 1970s. Signed in pencil by artist lower right corner. #22/150 on lower left. Presented in platinum toned wood frame under glass. Image size: 31"H x 22.25"W. Framed size: 32"H x 23W x 1"D Hans Erni was born in 1909. Erni attended the Kunstgewerbeschule in Lucerne in 1927-28, which was followed by further stays in Paris and Berlin. In 1933-34 he joined the artist's group Abstraction-Création in Paris, where he also met artists like Hans Arp, Alexander Calder and Wassily Kandinsky. In the 1930-40s, he was very successful with fresco painting, a medium the artist deeply preferred because of its impact on society. In 1950 Erni created his first ceramic works and discovered lithography as another central technique of his future artistic output. In 1972 he set up his studio in Saint-Paul-de-Vence, but he continued to be active in Lucerne, where he was born and obtained personal museum spaces. Erni was awarded with numerous prizes, including the UN Peace Medal...

Richard LINDNER Lovers with a Tiger Original lithograph, 1977 Printed signature in the plate On heavy paper 76 x 56 cm (c. 30 x 22 inch) Created for the artist exhibition in Maeght ...

(after) Pablo PICASSO The Artist and his Model Lithograph, 1954 On Arches vellum With the blind stamp of the editor (Ed. Verve) Size 27 x 37 cm (c. 10.65 x 14.6 inch) Lithograph cr...

Bright vibrant blue, orange, red, yellow, green lithograph in color. This is signed in the plate and dated. Leger's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly developed by Cowell's of Ipswich, and proofed under his supervision. The original edition called for 3000. I do not know how many were actually printed. The sheer logistics of the operation, the costly effort of distribution to over 4000 schools, finally ended the great adventure of the School Prints scheme. The expensive endeavor peaked in 1949 with the magnificent European series, made possible by the plastic portable plates, which, in addition to Moore, featured Henri Matisse, Pablo Picasso, Fernand Leger, Raoul Dufy and Georges Braque. Joseph Fernand Henri Léger (French 1881 – 1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art. Léger was born in Argentan, Orne, Lower Normandy, where his father raised cattle. Fernand Léger initially trained as an architect from 1897 to 1899, before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts after his application to the École des Beaux-Arts was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as "three empty and useless years" studying with Gérôme and others, while also studying at the Académie Julian. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of impressionism, as seen in Le Jardin de ma mère (My Mother's Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger's work after he saw the Cézanne retrospective at the Salon d'Automne in 1907. In 1909 he moved to Montparnasse and met Alexander Archipenko, Jacques Lipchitz, Marc Chagall, Joseph Csaky and Robert Delaunay. In 1910 he exhibited at the Salon d'Automne in the same room (salle VIII) as Jean Metzinger and Henri Le Fauconnier. In his major painting of this period, Nudes in the Forest, Léger displays a personal form of Cubism that his critics termed "Tubism" for its emphasis on cylindrical forms. In 1911 the hanging committee of the Salon des Indépendants placed together the painters identified as 'Cubists'. Metzinger, Albert Gleizes, Le Fauconnier, Delaunay and Léger were responsible for revealing Cubism to the general public for the first time as an organized group. The following year he again exhibited at the Salon d'Automne and Indépendants with the Cubists, and joined with several artists, including Le Fauconnier, Metzinger, Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to form the Puteaux Group—also called the Section d'Or (The Golden Section). Léger's paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed forms are laconically rendered in rough patches of primary colors plus green, black and white, as seen in the series of paintings with the title Contrasting Forms. Léger made no use of the collage technique pioneered by Georges Braque and Pablo Picasso.As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking. In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman's lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement. In collaboration with Amédée Ozenfant he established a free school where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his "mural paintings", influenced by Le Corbusier's theories. His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs. He was active as a teacher for many years, first at the Académie Vassilieff in Paris, then in 1931 at the Sorbonne, and then developing his own Académie Fernand Léger, which was in Paris, then at the Yale School of Art and Architecture (1938–1939), Mills College Art Gallery in Oakland, California during 1940–1945, before he returned to France. Among his many pupils were Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Marcel Mouly, Louise Bourgeois, Tsuguharu Foujita, Sam Francis, Serge Gainsbourg, Hans Hartung, Florence Henri, Asger Jorn, William Klein, Maryan, Jules Olitski, Erik Olson...

(after) Pablo PICASSO Painter with his Model Lithograph, 1954 On Arches vellum With the blind stamp of the editor (Ed. Verve) Size 37 x 26.5 cm (c. 14.6 x 10.43 inch) Litograph cre...