Gilles Sacksick Art

Pierre-Auguste Renoir (1841-1919) "La Danse à la Campagne" (The Country Dance) Soft-ground etching in black ink, 2nd plate circa 1890 Stamp signature, as issued Image size: 8 5/8 x ...

Artist: Salvador Dali Title: I am my beloved from The Song of Songs of King Solomon from the Portfolio Song of Songs of Solomon Year: 1972 Medium: Color Etching with Gold Dust on Arc...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

A poignant and highly affecting 19th century image of an African American church congregation in Washington DC after the emancipation of slaves, published in London. London: The Ill...

Work : Original limited Edition Print of 10 (Edition A/P). The work is not framed. The Frame is for illustrative purposes only. Artwork will carefoully shipped and packaged flat in ...

Etching on cream wove paper, 2 3/8 x 3/14 inches (61 x 83), full margins. Signed, dated and inscribed "IV" in the artist's hand. In very good condition. Fletcher states only two tria...

A fine proof impression on antique paper Etching on antique laid paper with a large heraldic watermark. 4 1/4 x 2 3/8 inches (109 x 61mm), full margins. Signed, dated, and inscribed...

Christ crucified between the two thieves: oval plate, 1648 Original Etching. Bibliography: Bartsch, 79; Hind 173; Biörlund, 41-2; White & Boon, B79. (mm. 163x131). Wonderful evidence...

Etching on cream laid Arches paper, 6 9/16 x 5 1/8 inches (166 x 129 mm), full margins. Signed in pencil, lower center margin. A very good impression. Titled, dated, and inscribed in...

Etching with aquatint on cream wove paper, 1 3/4 x 5 inches (178x 127 mm), full margins. Signed, dated and inscribed "Ed. 150" in pencil, lower margin. Second state (of 3), before th...

Etching with drypoint printed in sepia ink on cream laid paper bearing an indiscernible watermark with linked spheres. 10 1/4 x 13 1/8 inches (260 x 332 mm), unevenly trimmed yet ful...

This etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...