Jacques Monory Abstract Prints

Artist: Larry Zox (1937-2006) Title: Three Square Composition Year: 1978 Edition: VII/LX; 200 Arabic Numeral, 60 Roman Numeral, plus proofs Medium: Silkscreen on Arches paper Size: 2...

Karl Eugene Fortess (1907-1993) Original color lithographs on BFK Rives paper, 1966, Hand signed and numbered 29/36 in pencil, Sheet size 20.5 x 15 inches. Karl E. Fortess (1907-1993) was a painter, printmaker and teacher, of Boston, Massachusetts and Woodstock, N.Y. Fortess was born in Antwerp, Belgium on October 13, 1907, and became an American citizen in 1923. He studied at the Art Institute of Chicago, the Art Students League in New York, and the Woodstock School of Painting with Yasuo Kuniyoshi. In 1937 the Works Progress Administration sent him and several other artists to Alaska to document the towns, villages, and remote wilderness landscapes (Pemberton, “Alaska art museum collects WPA’s Depression works from the territory,” Columbia Daily Tribune, November 9, 2003). Trains, trucks, and industrial buildings were what Karl Fortess envisioned when the Public Works of Art Project suggested that he depict “the American Scene.” His work bears the influence of Surrealism, Russsian Constructivist art and Cubism. He was part of a circle of left leaning artists loosley involved with the WPA which included Sol Wilson, Isaac Soyer, Louis Lozowick, Abraham Harriton, Ben Shahn, William Gropper, Nahum Tschacbasov, Morris Shulman, Yasuo Kuniyoshi, Louis Slobodkin, Adolf Dehn, Le Corbusier and Louis Schanker. Karl Fortress taught at the Art Students League, Brooklyn Museum Art School, Louisiana State University, Fort Wright College, and Boston University School of Fine and Applied Arts. He was a member of the Artists Equity Association, Society of American Graphic Artists, American Association of University Professors, and the British Film Institute. He was awarded the Guggenheim Fellowship in 1946, was named an Associate of the National Academy of Design in 1960 and elected to full Academician in 1971. Fortess taught at many different schools, including Boston University School of Fine Art, where he also created an archive of interviews with more than two hundred and fifty contemporary American painters, sculptors, and graphic artists including many with with artists associated with the Woodstock, N.Y. art community. Among the interviewees are Kenneth Armitage, Will Barnet, Romare Bearden, George Biddle, James Brooks, Adolph Dehn, Jane Freilicher, Julian Levi, Alice Neel, Larry Rivers, Moses Soyer, Dorothy Varian...

Artist: After Joan Miro (1893-1983) Title: Sculptures et Ceramics Year: 1973 Medium: Lithograph exhibition poster on wove paper Size: 32.5 x 22 inches Condition: Excellent Notes: Pub...

L.A.! HOLLYWOOD is a handmade limited edition color lithograph with metallic gold silkscreen accents created by the American artist Alex Echo. L.A.! HOLLYWOOD was printed using traditional hand lithography and serigraphy(silkscreen) techniques on archival ARCHES printmaking paper 100% acid free. L.A.! HOLLYWOOD is a humorous Pop Art...

Artist: Nicholas Krushenick (1929-1999) Title: North End Year: 1979 Edition: 15/200, plus proofs Medium: Silkscreen on wove paper Size: 36 x 26 inches Condition: Good Inscription: Signed and numbered by the artist. NICHOLAS KRUSHENICK (1929-1999) One of America’s premier Pop artists, Nicholas Krushenick’s work consists of geometric abstract motifs whose shapes were outlined in heavy black lines. In this regard his original prints were often compared to those of Pop Art co-horts Roy Lichtenstein and Andy Warhol, but unlike these masters Krushenick avoided any imagery from commercial art...

Artist: After Joan Miro (1893-1983) Title: Untitled (Guggenheim Museum) Year: 1966 Medium: Offset lithograph exhibition poster on premium paper Size: 33.75 x 24 inches Condition: Exc...

Artist: Larry Zox (1937-2006) Title: Two Square Composition Year: 1978 Edition: 13/20, plus proofs Medium: Silkscreen on japon paper Size: 18 3/4 x 26 inches Condition: Good Inscript...

Artist: Joan Miro (1893-1983) Title: Le Lézard Aux Plumes D'or: Plate I (Mourlot 803; Cramer 148) Year: 1971 Edition: H.C.; 195, plus proofs Inscription: Signed and inscribed ‘H.C.’ ...

Untitled - IV Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Untitled I Wojtek Kowalczyk, Polish (1960) Date: 2005 Lithograph, signed in pencil Size: 19.5 in. x 13.5 in. (49.53 cm x 34.29 cm)

Artist: After Joan Miro (1893-1983) Title: Miro Oeuvres Graphiques Year: 1965 Medium: Lithograph exhibition poster on wove paper Size: 22.25 x 19.25 inches Condition: Excellent Notes...

Allan D'Arcangelo (American/New York, 1930-1998), "Aspen Center of Contemporary Art", 1967 silkscreen, hand signed in pencil, dated, numbered "45/200" and blind stamped "Chiron Press, New York, NY" 32 in. x 24 in. Allan D'Arcangelo (1930-1998) was an American artist and printmaker, best known for his paintings of highways and road signs that border on pop art and minimalism, precisionism, Abstract illusionism and hard-edge painting, and also surrealism. His subject matter is distinctly American and evokes, at times, a cautious outlook on the future of this country. Allan D'Arcangelo was the son of Italian immigrants. He studied at the University of Buffalo from 1948–1953, where he got his bachelor's degree in history. After college, he moved to Manhattan and picked up his studies again at the New School of Social Research and the City University of New York, City College. At this time, he encountered Abstract Expressionist painters who were in vogue at the moment. After joining the army in the mid 1950s, he used the GI Bill to study painting at Mexico City College from 1957–59, driving there over 12 days in an old bakery truck retrofitted as a camper. However, he returned to New York in 1959, in search of the unique American experience. It was at this time that his painting took on a cool sensibility reminiscent of Roy Lichtenstein and Andy Warhol. His interests engaged with the environment, anti-Vietnam War protests, and the commodification and objectification of female sexuality. D'Arcangelo first achieved recognition in 1962, when he was invited to contribute an etching to The International Anthology of Contemporary Engraving: America Discovered; his first solo exhibition came the next year, at the Thiebaud Gallery in New York City. In 1965 he contributed three screenprints to Original Edition's 11 Pop Artists portfolio. By the 1970s, D'Arcangelo had received significant recognition in the art world. He was well known for his paintings of quintessentially American highways and infrastructure, and in 1971 was commissioned by the Department of the Interior to paint the Grand Coulee Dam in Washington state. However, his sense of morality always trumped his interest in art world fame. In 1975, he decided to quit the gallery that had been representing him for years, Marlborough Gallery, because of the way they handled Mark Rothko legacy. D'Arcangelo rejected Abstract Expressionism, though his early work has a painterly and somewhat expressive feel. He quickly turned to a style of art that seemed to border on Pop Art and Minimalism, Precisionism and Hard-Edge painting. Evidently, he didn't fit neatly in the category of Pop Art, though he shared subjects (women, signs, Superman) and techniques (stencil, assemblage) with these artists.He turned to expansive, if detached scenes of the American highway. These paintings are reminiscent of Giorgio de Chirico-though perhaps not as interested in isolation-and Salvador Dali-though there is a stronger interest in the present and disinterest in the past. These paintings also have a sharp quality that is reminiscent of the precisionist style, or more specifically, Charles Sheeler. 1950s, Before D'Arcangelo returned to New York, his style was roughly figurative and reminiscent of folk art. During the early 1960s, Allan D'Arcangelo was linked with Pop Art. "Marilyn" (1962) depicts an illustrative head and shoulders on which the facial features are marked by lettered slits to be "fitted" with the eyebrows, eyes, nose and mouth which appear off to the right in the composition. In "Madonna and Child," (1963) the featureless faces of Jackie Kennedy and Caroline are ringed with haloes, enough to make their status as contemporary icons perfectly clear. Select Exhibitions: Fischbach Gallery, New York, Ileana Sonnabend Gallery, Paris, Gallery Müller, Stuttgart, Germany Hans Neuendorf Gallery, Hamburg, Germany Dwan Gallery...