Manfred Schwartz Figurative Prints

Marcel Gromaire (1892-1971) - The Painter. 1943, paper, lithograph, 56x46 cm

Les Revolutions Sceniques du XXe Siecle - I (Cramer 207) Joan Miro, Spanish (1893–1983) Date: 1975 Lithograph Image Size: 12 x 10 inches Size: 14.5 in. x 10 in. (36.83 cm x 25.4 cm) ...

Alexander Calder Lithographic cover: Derrière le miroir 1973: Lithographic cover sheet; 15 x 11 inches. Very good overall vintage condition. Unsigned from an edition of unknown. Por...

Limited edition hand signed lithograph featuring two consecutive modern portraits of faces with varying degrees of abstraction, in pink and green, by Dennis john Ashbaugh (American, b. 1946). Numbered "7/7" in the lower-left corner. Signed "Dennis John Ashbaugh" in the lower right corner. Presented in a new tan mat with foam core backing. Unframe. Image size: 4"H x 6.75"W. Some toning yellowing at mat opening. Dennis John Ashbaugh (American, b. 1946) was born in Red Oak, Iowa, and attended California State University at Fullerton, receiving his MA in 1969. Ashbaugh has spent most of his career in New York City. In 1992, he collaborated with William Gibson, a fiction writer, and with publisher Kevin Begos on a book, Agrippa, meaning 'book of the dead'. Exhibition venues include the Metropolitan Museum of Art in New York City, the P.S.1 Contemporary Art Center, the Seattle Art Museum, and the Whitney Museum of American ArtPublic collections holding his work include the Hirshhorn Museum, the Museum of Fine Arts, Houston, the Los Angeles County Museum of Art, and the New York Metropolitan. He received a Guggenheim Fellowship. Ashbaugh lives in a trim frame house in Flamingo Park...

"Little Boy" - charming 1960s silkscreen rarely seen on the market would look perfect in a child's room - or in any room in the house! Karel Appel Little ...

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...

Little is known about the artist, Edward (Ed) Sacks, although this print may have been made at the Art Students League in NYC. it is a cross between, as the title suggests, a Seated ...

A very good impression of this lithograph, from an edition of 250. Signed in pencil by Covarrubias. Published by Associated American Artists, New York.

Gerry Mulligan, Baritone Sax - Rare Signed Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Gerry Mulligan sits on a stool holding his ba...

A very good impression of this color lithograph. Printer's proof, annotated P.P. 1 from the unknown edition size. Printed by United Church Press, Boston/Philadelphia. Published by Un...

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 d...

A very good impression of this color lithograph. Artist's proof, aside from the edition of 220. Signed and inscribed "E.A." in pencil by Foujita. Printed by the Guilde de la Gravure,...