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)
$680Sale Price|20% Off
HIEROGLYPHIC
By John Stockton De Martelly
Located in Santa Monica, CA
JOHN S. de MARTELLY (1903 - 1979) HIEROGLYPHIC, 1954 Lithograph, signed, no. 20 and dated '54 in pencil by the artist. 12 x 16 inches, large sheet 17...
Lithograph
$500
H 15 in W 22 in
Derrière Le Miroir No. 250 (page 20, 21) /// Modern Abstract Joan Miro Red Art
By Joan Miró
Located in Saint Augustine, FL
Artist: Joan Miró (Spanish, 1893-1983) Title: "Untitled (page 20, 21)" Portfolio: Derrière Le Miroir: Hommage à Aimé et Marguerite Maeght (No. 250) *Issued uns...
Lithograph
$350
H 37.25 in W 23 in
Greenwich Arts Council Poster /// Abstract Expressionist Robert Motherwell NY
By Robert Motherwell
Located in Saint Augustine, FL
Artist: Robert Motherwell (American, 1915-1992) Title: "Greenwich Arts Council" *Issued unsigned, though signed by Motherwell in the plate (printed signature) center right Year: 1976 Medium: Original Lithograph, Exhibition Poster on Strathmore paper Limited edition: 700. (There was also a signed and numbered edition of 42) Printer: Tyler Graphics, Ltd., Mount Kisco, NY Publisher: Greenwich Arts Council, Greenwich, CT Sheet size: 37.25" x 23" Reference: "The Prints of Robert Motherwell - A Catalogue Raisonné 1943-1984" - Belknap Appendix: No. 28, page 282; "Robert Motherwell - The Complete Prints 1940-1991" - Engberg No. 202 Condition: Never framed, has been professionally stored away for decades. Some minor edge wear. In excellent condition Rare Notes: Printed in three colors: black, green, and cream. Poster produced for a special exhibition "Sculpture 76" at The Greenwich Arts Council, Greenwich, CT from June - October, 1976. The image featured on this poster is Motherwell's 1972 acrylic painting on paper "Greenwich Sculpture". Artist's copyright lower left and printer's imprint lower right. GIA Gallery Poster Disclaimer: Not to be confused with thousands of contemporary inkjet/giclée/digital reproductions ignorantly or deliberately passed off as originals on the market today. The examples we offer here are the original period vintage (exhibition) posters, created and designed by, or under the supervision and authorization of the artist or their respective estate (posthumously), for various exhibitions and events in which they participated. If applicable, this poster is also fully documented within its respective artists' official catalogue raisonné of authentic graphic works, prints, and or posters. Biography: Robert Motherwell was born January 24, 1915, in Aberdeen, Washington. He was awarded a fellowship to the Otis Art Institute in Los Angeles at age 11, and in 1932 studied painting briefly at the California School of Fine Arts in San Francisco. Motherwell received a B.A. from Stanford University in 1937 and enrolled for graduate work later that year in the Department of Philosophy at Harvard University, Cambridge, Massachusetts. He traveled to Europe in 1938 for a year of study abroad. His first solo show was presented at the Raymond Duncan...
Lithograph
Plate #4 from Album 19
By Joan Miró
Located in San Francisco, CA
This artwork titled "Plate #4 from Album 19" 1961, is an original color lithograph on watermarked BFK Rives paper by renown artist Joan Miro 1893-1983. It is hand signed (monogramed...
Lithograph
Spring 69
By Nancy Genn
Located in San Francisco, CA
This artwork titled "Spring 69" 1969 is an original color lithograph by American artist Nancy Genn, b. 1929. It is hand signed, titled and inscribed Artist Proof in pencil by the artist. The size is 23.75 x 34.65 inches. It is in excellent condition, it has very small marks in the back due to tape removal from previous framing, not visible from the front. About the artist: Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. Her abstract expressionist paintings of this period, continuing through the mid-1970s, featured all-over compositions of colorful layers of gestural brushwork and calligraphic mark making resembling asemic writing. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture,[5] and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...
Lithograph
No title
Located in Paris, FR
Lithograph, 1953 Handsigned by the artist in pencil and numbered 27/100 Printer : Jean Pons (Paris) LCD5358
Lithograph
"Dusk in August" from the Portfolio of Nine
By Louise Nevelson
Located in Hinsdale, IL
NEVELSON, LOUISE (1899-1988) "Dusk in August" Lithograph in colors, 1967 Signed, dated, titled, and numbered in pencil lower margin This impression is XVIII/XX Sheet Size: 17” x 22” Published by Hollander’s Workshop with their blindstamp This lithograph by Louise Nevelson was made in collaboration with eight other artists in 1967. The other artists included in this portfolio collaboration are Roy Lichtenstein, Louise Nevelson, Willem de Kooning, Robert Motherwell, Henry Pearson, Sam Francis, Richard Lindner, and Saul Steinberg. Louise Nevelson is one of American’s foremost artists, Nevelson’s sculpted wood assemblages transcended space and transformed the viewer’s perception of art. She was an American sculptor best known for her monochromatic wooden assemblages. During the 1950s, she began to create unique arrangements contained in wooden frames amassed from a range of found objects—usually woodcuts or bits of furniture—that were then painted a uniform black, white, or gold, as seen in her seminal work Royal Tide I (1960). Louise Nevelson emerged in the art world amidst the dominance of the Abstract Expressionist movement. In her most iconic works, she utilized wooden objects that she gathered from urban debris piles to create her monumental installations - a process clearly influenced by the precedent of Marcel Duchamp's found object sculptures and "readymades." Nevelson’s prints share with her sculpture an interest in silhouetted forms and the layering of elements, but distinguish themselves by their vivid color, depth and movement.. Louise Nevelson experimented in several different print mediums. A 1963 Ford Foundation grant enabled June Wayne of the Tamarind Lithography Workshop, Los Angeles, to extend an invitation to Nevelson. This initial collaboration led to twenty six lithographs, mostly black with dark blue or red, which combined hand-drawn elements with printed lace. Nevelson returned to Tamarind in 1967 to complete sixteen large scale lithographs know as Double Imagery. In these lithographs Nevelson played with landscapes of shadows and reflections using irregular shaped papers and a limited palette of black, red, grey and blue. For her brilliant compositions in varied mediums critics hailed her as the leading sculptor of the twentieth century. A pioneering grand dame of the art works, Nevelson’s iconic persona was characterized by her skilled mixing and matching of ethnic clothing...
Lithograph
$98Sale Price|34% Off
H 10 in W 7.325 in
Untitled Composition (Poligrafa, Redfern, Portuguese Modern Art, École de Paris)
By Maria Helena Vieira da Silva
Located in Kansas City, MO
Maria Helena Vieira da Silva Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 100 Size: 10 x 7.325...
Lithograph
$4,800
H 25.01 in W 19.02 in
Source n.7 (1965) . Lithograph. Limited Edition of 16 by Toko Shinoda
By Toko Shinoda
Located in Hong Kong, HK
Toko SHINODA (Japanese, 1913‐2021) Source n.7, (1965) ,Lithograph on cream BFK Rives Paper Artist Proof from an Edition of 16 25 x 19 in (sheet) 63.5 x 48.3 cm (sheet) 80 x 62 x 4 cm (framed) Executed in 1965 Signed, dated, and inscribed "A.P." PROVENANCE Private Collection United States A rare and historic print...
Paper, Lithograph
Astres Egares (Lost Astral)
Located in San Francisco, CA
This artwork "Astres Egares (Lost Astral)" 1970, is an original colors lithograph on creme wove paper by noted Italian artist Berto (Roberto) Lardera, 1911-1989. Published by Les Bib...
Lithograph
$1,500
H 20 in W 25.5 in
Guli Wall rare 1970s lithograph by famed Scottish Pop artist Alan Davie Signed/N
By Alan Davie
Located in New York, NY
Alan Davie Guli Wall, 1971 Lithograph on Rives BFK Paper with Deckled Edges Hand signed, numbered 26/200 and dated on the lower front 20 × 25 1/2 inches Unframed This whimsical mid-century modern hand signed, dated and numbered print by renowned Scottish-born British Pop artist Alan Davie published in 1971 was chosen to be included in the 1975 portfolio for the Swiss Society for Fine Arts (Grafikmappe des Schweizerischen Kunstvereins) as part of an international portfolio of 27 prints by world renowned artists including Jasper Johns, Christo, Valerio Adami, Shusaku Arakawa, Robert Cottingham, Richard Paul Lohse, Gerhard Richter, Dieter Roth, Pierre Tal Coat and many others.. Hand signed and numbered from the edition of 200. Unframed and in fine condition. This vintage European print...
Lithograph
$750
H 36 in W 24 in
Ray Parker at Molly Barnes Rare collectible abstract 1960s LA exhibition print
Located in New York, NY
Ray Parker Ray Parker at Molly Barnes: Rare vintage 1960s LA exhibition poster, 1968 Offset lithograph Printed by Contemporary Art Lithographers, Minneapolis, Minnesota 36 × 24 inche...
Lithograph, Offset
$1,000
H 10 in W 10 in D 1 in
Abstract Expressionist Print by famed sculptor Lynda Benglis, Signed/N, Framed
By Lynda Benglis
Located in New York, NY
Lynda Benglis Untitled, 1995 Letterpress on Somerset Paper Edition 91/100 Pencil signed and numbered from the edition of 100, top recto. Framed Measurements: Sheet: 6 inches by 6 inc...
Lithograph
Sold
H 19 in W 22 in
Old Moon, Regionalist Artist, Student of Thomas Hart Benton
By John Stockton De Martelly
Located in Grand Rapids, MI
John Stockton de Martelly (American, 1903 - 1979) Signed: John S. de Martelly (Lower, Right) " Old Moon ", 1930 Edition of 250 Site Size: 10 3/4" x 14" Housed in a 1" Silver and...
Lithograph
Sold
H 9.69 in W 14 in
For the Love of Barbara Allen (Young girl enters room with two women by stove)
By John Stockton De Martelly
Located in New Orleans, LA
John de Martely's image, "for the Love of Barbara Allen" is in the collection of the National Gallery, the Fine Art Museum of San Francisco and Yale University. No other old English or Scottish ballad even comes close to the popularity of “Barbara Allen.” Brought over to America by the earliest pioneers, its roots can be traced to at least the year 1666 when Samuel Pepys wrote in his diary on January 2, “In perfect pleasure I was to hear her [Mrs. Knipp, an actress] sing, and especially her little Scotch song of Barbary Allen.” Even Abraham Lincoln sang “Barbara Allen” while growing up in rural Indiana. In America, “Barbara Allen” was sometimes called “Barbara Allen’s Cruelty or the Young Man's Tragedy.” It was also known as “Barbara Ellen,” and “Bonny Barbara Allan.” In the beginning of the 19th century “Barbara Allen” was used both as a children’s game and as an instrumental at dance parties. In the mid 18th century the tune of “Barbara Allen” was also used for several religious texts. During the Civil War, it provided the melody of a song called “Brother Green,” which told the last words of a dying soldier. By the end of the 19th century, ballads such as “Barbara Allen” were all but forgotten in the British Isles where they originated. When we think back to the roots of bluegrass music, it’s important to remember that ballads like “Barbara Allen” were the bedrock that bluegrass music was built on. For certain, the ancestors of the first generation of bluegrass singers like Bill Monroe, Lester Flatt, Carter Stanley, Don Reno and Mac Wiseman were so familiar with ballads like “Barbara Allen” that they could sing all the verses from memory. Even today, "Barbara Allen" has maintained its status as America’s best- known ballad. In recent years, it has been recorded more than three hundred times. A short list of but a few of the artists who have recorded “Barbara Allen” : Eddie Arnold, Joan Baez, Mac Wiseman, Hylo Brown, Doris Day, Judy Collins, Bob Dylan, Dave Dudley, The Everly Brothers, Tennessee Ernie Ford, Art Garfunkel, Crystal Gayle, Tex Ridder and Dolly Parton. Barbara Allen ‘Twas in the merry month of May When all gay flowers were blooming Sweet William...
Lithograph
Sold
H 9.69 in W 14 in
For the Love of Barbara Allen (Young girl enters room with two women by stove)
By John Stockton De Martelly
Located in New Orleans, LA
John de Martely's image, "for the Love of Barbara Allen" is in the collection of the National Gallery, the Fine Art Museum of San Francisco and Yale University. No other old English or Scottish ballad even comes close to the popularity of “Barbara Allen.” Brought over to America by the earliest pioneers, its roots can be traced to at least the year 1666 when Samuel Pepys wrote in his diary on January 2, “In perfect pleasure I was to hear her [Mrs. Knipp, an actress] sing, and especially her little Scotch song of Barbary Allen.” Even Abraham Lincoln sang “Barbara Allen” while growing up in rural Indiana. In America, “Barbara Allen” was sometimes called “Barbara Allen’s Cruelty or the Young Man's Tragedy.” It was also known as “Barbara Ellen,” and “Bonny Barbara Allan.” In the beginning of the 19th century “Barbara Allen” was used both as a children’s game and as an instrumental at dance parties. In the mid 18th century the tune of “Barbara Allen” was also used for several religious texts. During the Civil War, it provided the melody of a song called “Brother Green,” which told the last words of a dying soldier. By the end of the 19th century, ballads such as “Barbara Allen” were all but forgotten in the British Isles where they originated. When we think back to the roots of bluegrass music, it’s important to remember that ballads like “Barbara Allen” were the bedrock that bluegrass music was built on. For certain, the ancestors of the first generation of bluegrass singers like Bill Monroe, Lester Flatt, Carter Stanley, Don Reno and Mac Wiseman were so familiar with ballads like “Barbara Allen” that they could sing all the verses from memory. Even today, "Barbara Allen" has maintained its status as America’s best- known ballad. In recent years, it has been recorded more than three hundred times. A short list of but a few of the artists who have recorded “Barbara Allen” : Eddie Arnold, Joan Baez, Mac Wiseman, Hylo Brown, Doris Day, Judy Collins, Bob Dylan, Dave Dudley, The Everly Brothers, Tennessee Ernie Ford, Art Garfunkel, Crystal Gayle, Tex Ridder and Dolly Parton. Barbara Allen ‘Twas in the merry month of May When all gay flowers were blooming Sweet William...
Lithograph
While the Sun Shines
By John Stockton De Martelly
Located in Missouri, MO
John Stockton De Martelly "While the Sun Shines" c. 1943 Lithograph Ed. 250 Signed in Pencil Lower Right approx. 10 x 14 inches approx. 14 3/4 x 18 3/4 framed John Stockton de Marte...
Lithograph
Burning Bush
By John Stockton De Martelly
Located in Fairlawn, OH
Signed in graphite large flowing script: DeMartelly, left side, verso; Signed in graphite by the artist's son, Michael De Martelly, top left verso; Signed with the circular estate st...
Oil