Lions Gallery Animal Prints

Bright, vibrant purple, red and black bull or ox. 1959 Lithograph "Bull". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler, Moshe Tamir and Michael Gross. Avraham Ofek (August 14, 1935 – January 13, 1990 was an Israeli sculptor, muralist, painter and printmaker. Avraham Ofek was born in Burgas, Bulgaria. He immigrated to Israel in 1949, and he lived in Ein Hamifratz, a kibbutz near Haifa. He studied at the Academy of Fine Arts in Florence, as well as in Spain and in London, and later taught art in Jerusalem before being appointed head of the Art Department at the University of Haifa. In 1975, he established the Leviathan Group school together with Michail Grobman and Shmuel Ackerman (prominent Post Soviet avant garde Russian artists), seeking to combine symbolism, metaphysics and Judaism in an all-inclusive “national style.” He represented Israel at the Venice Biennale in 1972. Avraham Ofek's early paintings of landscape were at both lyrical and rugged; later in his career the landscape was undefined and receded into the background. Near the end of his life, the landscape of Jerusalem became an important motif, reflecting loss and despair. Many of Ofek's landscapes convey a sense of alienation and solitude, as well as nostalgia for the city of his birth, Sofia. His mural paintings and sculpture can be seen across Israel, notably at Kfar Uria and the Central Post Office Building (Jerusalem). His sculpture "The Binding of Isaac...

Serpentine with Orchids, 2005 Four-color screenprint on Rives BFK. Edition: 50 + 7 artist’s proofs 28 x 22 (paper size) framed by Bark Frameworks. Michael Burton Mazur (1935-August ...

Lithograph printed by Chez Daniel Jacomet, Paris, France 1960 offset lithograph in colors on Arches, signed in crayon on the justification sheet (this auction is just for the one lit...

Lithograph printed by Chez Daniel Jacomet, Paris, France 1960 offset lithograph in colors on Arches, signed in crayon on the justification sheet (this auction is just for the one lit...

Lithograph printed by Chez Daniel Jacomet, Paris, France 1960 offset lithograph in colors on Arches, signed in crayon on the justification sheet (this auction is just for the one lit...

Woodcut woodblock (small possibility it is a Silkscreen Serigraph) print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an a...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered. it is a rare artists or printers proof print. It depicts Moses and Aaron at the top and I believe it relates to Passover and the exodus from Egypt. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered. it is a rare artists or printers proof print. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

This is a mixed lithograph and serigraph silkscreen as per descriptions i read. this is not signed or numbered and is marked sample. it is a rare artists or printers proof print. David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv and continuing in Florence and Rome, where he studied architecture and theater design. The brightly colored costumes and intricate stage designs he created for these productions have profoundly influenced his art. When Sharir moved to Jaffa in 1966, his hallmark style was truly developed. Studio, family, and spiritual devotion all serve as inspiration for the imagery in his work. His evolving style combines personal experience, Biblical symbolism, and fantasy. David Sharir, born 1938, Tel Aviv. Was among the first artists to settle in Old Jaffa in 1966. He depicted biblical subjects with a touch of humour and designed sets and costumes for the theatre and opera. Graphic Art in Israel Today Tel Aviv Museum, Tel Aviv 1973 Israel 1948-1958: Watercolors, Drawings, Graphics The Bezalel National Museum, Jerusalem 1958 Jean David, Yosl Bergner, Menachem Shemi, Zvi Mairovich, Ruth Schloss, Nahum Gutman, Moshe Elazar Castel...

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

Silkscreen Serigraph print hand signed, numbered. Michail Grobman (Russian: Михаил Гробман, Hebrew: מיכאיל גרובמן‎‎, born 1939) is an artist and a poet working in Israel and Russia....

This came out of a Chicago collection. It appears to be signed Betsey Nelson. It depicts Ulysses from Dante's Inferno from Greek Mythology. mythological figures. it is done on a fin...

This came out of a Chicago collection. It appears to be signed Betsey Nelson. It depicts canto from Greek Mythology. Virgil and Dante mythological figures. it is done on a fine tiss...

This came out of a Chicago collection. It appears to be signed Linda Tweed. It depicts a dragon or griffin (phoenix?) like mythological figure. it is done on a fine tissue like pape...

This came out of a Chicago collection. It appears to be signed Linda Tweed. It depicts a centaur like mythological figure. it is done on a fine tissue like paper and there is some w...

Circus scene with cat, lithograph. (possibly colored with watercolor painting. I am not sure) Sakti Burman (born 1935 in Kolkata) is a contemporary Indian artist of Indian parentag...

Arthur Kolnik, Jewish painter and printmaker Ivano-Frankivsk (Ukraine) 1890 - Paris (France) 1972 Arthur Kolnik was born in Stanislavov, a small town in Galicia, which was then part of the Austro-Hungarian Empire. His father, who was originally from Lithuania, worked as an accountant and his mother, who was originally from Vienna, ran a shop. In 1905, he discovered Yiddish literature in Czernowitz, on the occasion of the first conference on Yiddish language, which was organized by several writers including I. L. Peretz, Cholem Aleichem, Shalom Asch, and Nomberg. In 1909, Kolnik joined the School of Fine Arts in Krakow and took classes taught by Jacek Malezcewski and Joseph Mehoffer, a portrait painter and an artist who produced stained-glass windows in Fribourg (Switzerland). He was mobilized in the Austrian army in 1914. He was wounded in 1916 and repatriated to Vienna, where he met the Judaic painter Isidor Kaufmann. In 1919, Kolnik settled in Czernowitz, which was then annexed by Romania. There, he met writer and poet Itzik Manger and storyteller Eliezer Steinberg for whom he produced several illustrations. In 1920, Kolnik left for the United States, bringing fifty paintings...

Daniel In Lions Den. Artist proof etching. it depicts a rabbi wrapped in a tallit surrounded by lions. A very well executed work of a famous miracl...

This listing is for just the one print in the photo here. there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, SI, NY, “The Figure: Another Side of Modernism” Contemporary Arts Center, Cincinnati, OH, travels to 10 other institutions; “It’s Only Rock and Roll”, Catalog essay by David S. Rubin, Curator of 20th Century Art, Phoenix Art Museum Beatrice Conde Gallery, New York, NY, “Paintings, Drawings, Photographs” The Painted Bride Art Center, Philadelphia, PA, 2 person exhibition with Patricia McCabe Centro Cultural La General, Granada, Spain, “Honenaje a Federico García Lorca White Columns, New York, NY, “Overtalk: Bob Stanley, Öyvind Fahlström, Peter Nagy Lyman Allyn Museum, New London, CT, “The Pop Decade: The Bianchini Gallery in the Sixties”; Exhibition monograph by Barbara Zabel Fuji Television Gallery, Tokyo, Japan, “Contemporary Graphics: NYC” The Art Museum, Princeton University, Princeton, NJ, “A Decade of Visual Arts at Princeton: Faculty 1975-1985”’ Catalog text by Allen Rosenbaum and James Seawright Centro Studi Pietro Mancini, Cosenza, Italy, “Progetto su Pace, Guerra e Altro” The Fort Worth Art Museum, Fort Worth, TX, “The Pop Art Print” The Madison Art Center, Madison, Wisconsin, “Recent Acquisitions” Harcus Gallery, Boston, MA, “Artist/Poet’s Books” The American Academy and Institute of Arts and Letters New York, NY, “Paintings and Sculpture: 1982 Art...

This listing is for just the one print in the photo here. there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, SI, NY, “The Figure: Another Side of Modernism” Contemporary Arts Center, Cincinnati, OH, travels to 10 other institutions; “It’s Only Rock and Roll”, Catalog essay by David S. Rubin, Curator of 20th Century Art, Phoenix Art Museum Beatrice Conde Gallery, New York, NY, “Paintings, Drawings, Photographs” The Painted Bride Art Center, Philadelphia, PA, 2 person exhibition with Patricia McCabe Centro Cultural La General, Granada, Spain, “Honenaje a Federico García Lorca White Columns, New York, NY, “Overtalk: Bob Stanley, Öyvind Fahlström, Peter Nagy Lyman Allyn Museum, New London, CT, “The Pop Decade: The Bianchini Gallery in the Sixties”; Exhibition monograph by Barbara Zabel Fuji Television Gallery, Tokyo, Japan, “Contemporary Graphics: NYC” The Art Museum, Princeton University, Princeton, NJ, “A Decade of Visual Arts at Princeton: Faculty 1975-1985”’ Catalog text by Allen Rosenbaum and James Seawright Centro Studi Pietro Mancini, Cosenza, Italy, “Progetto su Pace, Guerra e Altro” The Fort Worth Art Museum, Fort Worth, TX, “The Pop Art Print” The Madison Art Center, Madison, Wisconsin, “Recent Acquisitions” Harcus Gallery, Boston, MA, “Artist/Poet’s Books” The American Academy and Institute of Arts and Letters New York, NY, “Paintings and Sculpture: 1982 Art...

This listing is for just the one print in the photo here. there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank...

there are three states of the same image image each with Progressively increasing detail and color. the edition size is 175. Hand signed, numbered and dated. on hand made French Arches paper. Bob (Robert) Stanley (1932-1997) was a painter, photographer and printmaker whose early work was figurative painting about contemporary American life. In the 1960s and early 1970s, he based his paintings on photographs, which he manipulated from black and white or silkscreen colored shapes. In the early 1960's, he began to base his paintings on images clipped from newspapers and magazines, following the example of Pop artists like Andy Warhol and Roy Lichtenstein, who would become his brother-in-law. Enlarged and often simplified to two vibrant saturated colors Stanley's images could be reduced to the abstract or be powerfully explicit. His preferred subjects, including rock stars, athletes and pornography, always seemed to grate against the pretenses of high art. Similar in bold use of color to Malcolm Morley. In the late 1960's Mr. Stanley started using his own photographs, basing paintings on images of tree branches or the ground, and also using pictures of life-drawing models at the School of Visual Arts. EDUCATION The Brooklyn Museum of Art School, Brooklyn, NY Columbia University, New York, NY The High Museum Art School, Atlanta, GA Columbia University, New York, NY Oglethorpe University, Atlanta, GA B.A. 1953 Max Beckmann Scholarship Award for Painting and Sculpture, The Brooklyn Museum of Art School, Brooklyn, NY TEACHING School of Visual Arts, New York, NY, Instructor: Painting and Drawing The New Arts Program, Kutztown, PA, Visiting Artist Princeton University, Princeton, NJ, Visiting Artist School of Visual Arts, New York, NY, Instructor: Painting and Drawing SELECT INDIVIDUAL EXHIBITIONS Figureworks, Brooklyn, NY, Celebrating the Erotic Work of Pop-Artist Bob Stanley The Mayor Gallery, London, England, “Bob Stanley – Works from the Sixties” Beatrice Conde Gallery, New York, NY, Late Paintings Mitchell Algus Gallery, New York, NY, Paintings: 1963-1967 Gallerie Georges Lavrov, (Paris), Die International Kunstmesse, Art Basel, Switzerland Galerie Georges Lavrov, Paris, France, Catalog text by Richard Artschwager The Paul Bianchini Gallery, New York, NY Galerie Ricke, Kassel, Germany Bianchini-Birillo Gallery, New York, NY SELECTED GROUP EXHIBITIONS Mitchell Algus Gallery, New York, NY, Exquisite Corpe – Cadavre Exquis Karolyn Sherwood Gallery, “Up Close and Personal: A Collection of Minimalist and Figurative Drawings” Steven Vail Gallery, “Paintings and Drawings” 2 person exhibition with Jan Frank...

Juan García Ripollés (Castellon) was born in Alzira (Valencia, Spain) in 1932. His mother died during childbirth and not long after, he moved to Castellon, known as Castellon La Plan...

Salvador Dalí (1904-1989) – Spanish painter, graphic artist and sculptor. Drypoint with etching and pochoir on Japon paper "Elijah and the Chariot," 1975, (Horse and rider) from the "Our Historical Heritage" suite. Pencil signed along the lower right and numbered 53/250 along the lower left. Literature: Field 75-4 J Framed; Height: 29 in x width: 35 in. Mat opening 19.5 X 25.5. The Spanish artist’s extensive oeuvre not only includes watercolors, drawings and sculptures but also tapestries; here a fine example from the limited edition ‘The Twelve Tribes of Israel’ The tapestry was created after an etching by Salvador Dalí from 1973 with the title ‘The Tribe of Judah’, which the artist created as part of a suite to mark the 25th anniversary of the State of Israel, and in which he represented the twelve tribes of Israel. This vintage French tapestry is an impeccable textile re-creation of a rare Dali etching. This is a flat weave Aubusson style tapisserie. The edition size was 500. The tapestry is inscribed with woven ‘Salvador Dalí’ lower right Genre: Surrealism Subject: people, architecture rendering Medium: textile Salvador Dali (Spanish, 1904-1989) Salvador Dali is considered as the greatest original artist of the surrealist art movement and one of the greatest masters of art of the twentieth century. Dali began to study art at the Royal Academy of Art in Madrid. He was expelled twice and never took the final examinations. His opinion was that he was more qualified than those who should have examined him. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous - the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches became the artist's surrealist trademarks. Along with Rene Magritte his is considered the greatest of the Surrealists. His great craftsmanship allowed him to execute his paintings in a nearly photo realistic style. No wonder that the artist was a great admirer of the vintage Italian Renaissance painter Raphael. Meeting Gala was the most important event in the artist's life and decisive for his future career. She was a Russian immigrant and ten years older than Dali. When he met her, she was married to Paul Eluard. In 1933 Salvador Dali had his first one-man show in New York. One year later he visited the U.S. for the first time supported by a loan of US$500 from Pablo Picasso. To evade World War II, Dali chose the U.S.A. as his permanent residence in 1940. He had a series of spectacular exhibitions, among others a great retrospective at the Museum of Modern Art in New York. He has worked in paining, sculpture, tapestry, Daum glass and prints. Dali became the darling of the American High Society. Celebrities like Jack Warner or Helena Rubinstein gave him commissions for portraits. His artworks became a popular trademark and besides painting he pursued other activities - jewelry and dated clothing designs for Coco Chanel or film making with Alfred Hitchcock. In 1948 Dali and Gala returned to Europe, spending most of their time either in their residence in Ligate/Spain or in Paris/France or in New York. Dali developed a lively interest in science, religion and history. He integrated things into his art that he had picked up from popular science...

Marie Laurencin (French, 1883-1956) Lithograph of a colored pencil drawing depicting a woman wearing a hat and riding horseback side saddle, Edition "37/115" to lower left and hand signed "Laurencin" in pencil to lower right, with a cloth mat and housed in a silvered wood frame. Dimensions: Image, 12" H x 16" W; frame, 19.75" H x 23.5" W x 1.5" D. Marie Laurencin (1883 – 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Laurencin was born in Paris, where she was raised by her mother and lived much of her life. At 18, she studied porcelain painting in Sèvres. She then returned to Paris and continued her art education at the Académie Humbert, where she changed her focus to oil painting. During the early years of the 20th century, Laurencin was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso, and Cubists associated with the Section d'Or, such as Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri le Fauconnier and Francis Picabia, exhibiting with them at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire, and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and lesbian writer Natalie Clifford Barney. She had relationships with men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist." Laurencin's oeuvre include painting, watercolor paintings, drawing, and prints. She is known as one of the few female Cubist painters, with Sonia Delaunay, Marie Vorobieff, and Franciska Clausen...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Luis Camnitzer and Martin Buber (1878-1965), New York: JMB Publishers Ltd, 1970. Printed at The New York Graphic Workshop. Hand signed on Arches paper. (Edition 24/100, numbered on Justification page) Woodblock prints based on folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. German Expressionist style Jewish woodcuts...

Peter Boettcher started his career in the late 80’s when he shot cover for the independent music-magazine "spex" as LL Cool J, Morrissey (The Smiths), Sonic ...

An original signed drypoint etching with color pochoir by Spanish artist Salvador Dali titled "La Cerf Malade", depicting a stag deer, from the Portfolio: Le Bestiaire de la Fontaine. Hand signed in pencil and hand numbered. Limited edition in Roman numerals. Image size: 22.5" x 15.5". Sheet size is about 31 X 23 inches Le Bestiaire de la Fontaine Dalinisé, Robert Mouret, Editiones des Maîtres Contemporains, Paris, 1974 (M. & L. 653-664) (Reference: Albert Field, page 93 image 74-1F.) signed and numbered intaglio drypoints with pochoir in colors, hors-texte, on Arches, there were also editions of 250 on Japon and 120 on Auvergne numbered in Roman numerals. Salvador Dali (Spanish, 1904-1989 )is considered as the greatest original artist of the surrealist art movement and one of the greatest masters of art of the twentieth century. Dali began to study art at the Royal Academy of Art in Madrid. He was expelled twice and never took the final examinations. His opinion was that he was more qualified than those who should have examined him. Surreal Art In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous - the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches...

This is an original hand signed (I believe it is also hand colored but i am not positive) Artists Proof Lithograph of a Circus scene. This depicts a trapeze artist an acrobat on the ...

This is an original hand signed (I believe it is also hand colored but i am not positive) Artists Proof Lithograph of a Circus scene. This depicts a circus girl with horses. This ca...

Printed on Dark Paper a magnificent piece. this is an etching with embossing on black wove, J Barcham Green paper Publisher Styria Studio, chopmark lower left Adja Yunkers b. 1900, Riga, Russia; d. 1983, New York Adja Yunkers was born Adolf Junkers on July 15, 1900, in Riga, Russia (now Latvia). He studied art in Petrograd (now Saint Petersburg), but from 1917 to 1919 his schooling was interrupted by military service in the Russian army. Yunkers soon left Russia for Europe and traveled extensively for the next two decades, settling for long periods in Cuba, France, and Germany. During much of his early career, Yunkers was active in political as well as artistic movements. At times his political investments even outweighed his commitment to his art, and in 1936 he moved to Spain to fight in its civil war. When the war ended in 1939, he moved to Stockholm and began to focus on art making again. He became associated with the Swedish Surrealists and published three journals devoted to art and politics. These handcrafted publications signaled a strong interest in printmaking, and in the 1940s he made many woodblock prints depicting distorted objects and figural compositions that demonstrate the influence of German Expressionism on his work. In 1947, Yunkers moved to New York and began to teach at the New School for Social Research. After four tumultuous marriages, he married one of his former students from the New School, Dore Ashton, in 1952. Ashton became an art critic for the New York Times in 1955, and through her, Yunkers was introduced to the artists who would become known as the Abstract Expressionists. He began drawing with pastel directly on canvas, resulting in large-scale works that recall Color Field painting in their emphasis on the materiality of color. Expanding on this impulse, Yunkers's later work made extensive use of negative space, collage, and monochrome. The influence of Minimalism in this more reduced aesthetic is clear, and his canvases became more object-like. Both printmaking and bookmaking were central to Yunkers's oeuvre. He founded the Rio Grande Workshop in New Mexico (where he also taught) in 1949, publishing an entirely handmade art magazine called Prints in the Desert. In 1969 he illustrated a limited-edition book by the poet Octavio Paz, a collaboration that sparked both a friendship and a number of additional illustrated books in the years to come. Yunkers also produced two large public works on commission: A Human Condition (1966), a mural for Syracuse University, and a tapestry produced for Stony Brook University (1968), both in New York. Yunkers had his first solo exhibition in 1921 at the Maria Kunde Galerie, Hamburg, Germany. Later that same year, he was part of a group show featuring Eastern European and Russian artists, including Alexander Archipenko, Marc Chagall, and Vasily Kandinsky, held in Hannover, Germany. He was included in an exhibition organized by the Print Council of America entitled American Prints Today. A snapshot of the state of American printmaking at the time of the exhibition. Among the many featured artists were Josef Albers, Leonard Baskin, Ralston Crawford, Adolf Dehn, Fritz Glarner, Grace Hartigan, Jasper Johns, Ynez Johnston, John Paul Jones, Misch Kohn...

Original serigraph silkscreen print by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen p...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscre...

Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a hand-signed and numbered Inuit-inspired silkscreen prints depicting an Abstract Surrealist depiction of Canadian wildlife.10.5X13.5 plate size. similar in style and feel to tapestry artists...

A fine etching of a Pike Fish. Perfect for the angler or sport fisherman Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, an...

Born in Newark, New Jersey, Robert Birmelin became a professor of fine arts at Queens College in New York, and is known for paintings that magnify through texture the realism of natu...

Artist: Donald Saff Medium: Etching with Aquatint, Hand signed and numbered in pencil. Donald Jay Saff (born 12 December 1937) is an artist, art historian, educator, and lecturer, specializing in the fields of contemporary art in addition to American and English horology. Saff was born in Brooklyn, New York. Donald Saff began his undergraduate degree at Queens College, City University of New York, in 1955, initially envisioning a career as an electrical engineer. However, the following year Saff changed his major to art and learned printmaking, to graduate with a B.A. in 1959 and a M.A. in art history from Columbia University in 1960. In the years following, Saff was awarded a M.F.A. from Pratt Institute in 1962 and an Ed.D. in studio art and art history from Columbia University in 1964. In his early career, Saff studied with Robert Goldwater, Robert Branner, Louis Hechenbleikner, and Meyer Schapiro. Saff is primarily known for his work and collaboration with the leading artists of the late-twentieth century, including Robert Rauschenberg, Jim Dine, Roy Lichtenstein, James Rosenquist, Nancy Graves, Philip Pearlstein, and James Turrell. Saff's prolific career is the subject of Marilyn S. Kushner's book, Donald Saff: Art in Collaboration (2010). Saff began his teaching career at Queens College as a lecturer in Art History, Design, and Drawing, from 1961 to 1964. In 1965, Saff was appointed as an associate professor in the visual arts department of the University of South Florida in Tampa, Florida, and became professor and chairman of the visual arts department two years later. In 1971, Saff became the founding dean of the College of Fine Arts at U.S.F., and was awarded the rank of distinguished professor at the university in 1982. Saff was later named dean emeritus by USF in 1989, and distinguished professor emeritus in 1996. In 1999, Saff was awarded the honorary degree of Doctor of Fine Arts at U.S.F. He was appointed the Director of Capital Projects of the Solomon R. Guggenheim Foundation, New York, in 2001, followed by the appointment of Senior Curator of Prints and Drawings in 2002. In 1968, Saff founded Graphicstudio at U.S.F. through funding by a seed grant from the Florida Arts Council and community supporters; the following year, Philip Pearlstein was the first artist invited to Graphicstudio to collaborate with Saff and his team. Saff became Founding Dean of the College of Fine Arts at U.S.F. in 1971. Under Saff's directorship, Graphicstudio collaborated with artists such as James Rosenquist, Robert Rauschenberg, Richard Anuszkiewicz, Shusaku Arakawa, Jim Dine, Lee Friedlander, Nancy Graves, Ed Ruscha, and Roy Lichtenstein. The collection of Graphicstudio is archived in the National Gallery of Art in Washington, D.C. Graphicstudio was founded by Dr. Donald Saff as part of the renaissance in American printmaking in the 1960s, in the company of studios such as ULAE, Tamarind, and Gemini GEL. This renaissance brought artists involved in the Pop art movement, such as Robert Rauschenberg, James Rosenquist, and Jim Dine, together with a growing number of trained printmakers from around the world. After Saff retired from U.S.F., he continued to collaborate with these artists, as well as James Turrell, at Saff Tech Arts in Oxford, Maryland, which was established in 1991. While Saff and Rauschenberg were traveling in China, Rauschenberg conceived of the Rauschenberg Overseas Culture Interchange (ROCI) in 1982, which began in 1984 with Saff as the artistic director. Saff travelled to over twenty countries and met with poets and writers in order to decide which were the most appropriate venues for the show and prepare for Rauschenberg's visit and exhibition. In recent years, Saff has continued to lecture and write on art and the history and mechanics of nineteenth-century clocks; in particular, the work of Charles Fasoldt, in addition to the development of time distribution from the Harvard College Observatory, and the horological innovations of Richard F. Bond. He has lectured on Fasoldt for the Antiquarian Horological Association in Cincinnati, OH (2001), the National Association of Watch and Clock Collectors in Pittsburgh, PA, and Anheim, CA (2003), and at the 26th Annual Ward Francillon Time Symposium in Houston, TX (2004), among other venues. Saff continues to work with the Royal Observatory in Greenwich, collaborating with Jonathan Betts and Rory McEvoy, on the trials of Burgess Clock B. (See "Honors.") Exhibitions Saff's individual work spans across his career of collaborative art. As early as 1965, Saff produced Duino Elegies, a print suite that was published and exhibited by Martin Gordon Gallery in New York and at the Galleria Academia in Rome; it was acquired by the Library of Congress, the Brooklyn Museum, and Lessing Rosenwald. Saff also collaborated with printers Galli and Arduini in Urbino to create print suites Breezes (1969), exhibited and published by the Martin Gordon Gallery. Additionally, Saff collaborated with Galli on print suites Paradise Lost (1970) and Numbers (1972), the former printed in Tampa, FL, and exhibited at the Martin Gordon Gallery, the University of South Florida Gallery, the Toronto Art Gallery, and the Loch Haven Art Center, FL. Numbers was exhibited at Multiples Gallery, New York. In 1979, Saff produced print suite Fables that was published and exhibited by the Getler/Pall Gallery in New York, followed by the print suite Constellations (1980), which was also exhibited at the Tom Lutrell Gallery in San Francisco. In 1981, Saff had solo exhibitions of his artwork in the Galleria d'Arte Moderna in Udine, Italy, Youngstown State University, OH, the Leo Castelli Gallery, NY, and in "Recent Acquisitions" at The Museum of Modern Art, NY. Additionally, Saff had solo exhibitions at Dyansen Gallery, NY (1982), at I. Feldman Gallery, Sarasota (1983), and at Edison Community College, FL (1988). In 1989, the retrospective Donald Saff: Mixed Metaphors, 1956–1989 was held at the Tampa Museum of Art and traveled to the Virginia Beach Center for the Arts, followed by his solo exhibition Winged Metaphors: Sculpture and Prints by Donald Saff at the Barbara Gillman Gallery in Miami later that year. In 1997, Brenau University Galleries exhibits Poetics: The Work of Donald Saff in Gainesville, GA. The same year, the Tampa Museum of Art exhibited Donald Saff/Robert Rauschenberg: In Collaboration. Finally, the Academy Art Museum in Easton, MD, exhibited Donald Saff: Gravity and Constellations; Selected Works in 2006. Honors Saff was awarded a Teaching Fellowship at Queens College (1960), a Yaddo Fellowship, Saratoga Springs, NY (1963), and Fulbright Fellowship (1964) to Italy where he studied at Istituto Statale di Belle Arti. While in Urbino, Saff met lifelong friend and colleague Deli Sacilotto, with whom he would co-author Printmaking: History and Process (1978) and Screenprinting: History and Process (1979). He received the Governor's Award for the Arts from the State of Florida in 1973, and was awarded the Florida Endowment for the Arts Individual Artist Grant in 1980. In 1997, Saff was awarded the title "Printmaker Emeritus" by the 25th Southern Graphics Council Conference in Tampa, F.L. In 2002, he was appointed as Visiting Distinguished Professor of Rhode Island School of Design. In April 2015, Saff was awarded a certificate from the Guinness World Records for his work on completing the world's most accurate pendulum clock, "Clock B", which was started by Martin Burgess in 1975. The official title awarded by Guinness World Records, as "the most accurate mechanical clock with a pendulum...

Born in Stoke-on-Trent in 1953, Frederick Phillips studied Fine Art at Burslem College of Art when Arthur Berry was Head of the Fine Art (Painting) ...

Elephants. 1979 edition 2/20 Hand signed and dated Framed 24.5 X 28. Sheet 23 X 26 This is from a series of prints Boxer produced at Tyler Graphics between 1975 and 1979. Over this period, he created several series of intricately rendered figurative works, illustrating whimsical scenes featuring animals, plants and nubile winged figures. Boxer had, however, been making drawings of this nature throughout his career, and he insisted they were closely connected to his abstracts, made with similar gestures and motivation. The Tate Museum received twenty-five of Stanley Boxer’s prints as a gift of Kenneth Tyler from Tyler Graphics, comprising a complete portfolio of Ring of Dust in Bloom, 1976, an incomplete portfolio of Carnival of Animals, 1979, and two individual prints. This work is from Carnival of Animals, a portfolio of fourteen intaglio prints on handmade paper. Tate holds eleven of the prints from this portfolio (Elephants, Swan and Fossils are not in Tate’s collection). Stanley Boxer (1926-May 8, 2000) was an American abstract expressionist artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker. He received awards from the Guggenheim Fellowship and the National Endowment for the Arts. Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, A group that included Barnett Newman, Clyfford Still, and Mark Rothko and was a form of Abstract Expressionism and later included Helen Frankenthaler, Ad Reinhardt, Kenneth Noland, Gene Davis, Jules Olitski, Raymond Parker and Morris Louis. Boxer himself was adamant in rejecting this stylistic label. Over the years, he remained loyal to the materially dense abstract mode on which his reputation rested.. Art critic Grace Glueck wrote "Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color." In 1953 Boxer had his first solo exhibition of paintings in New York City, and showed regularly thereafter until his death. His paintings and sculpture were represented in New York City during the late 1960s through 1974 by the Tibor de Nagy Gallery, then by the André Emmerich Gallery from 1975 until 1993, and finally by Salander-O'Reilly Galleries until its demise in 2007. Richard Waller, director of the University of Richmond's Harnett Museum of Art, describes his evolution as an artist: You can see the shift from working with figurative imagery in the 1940s and early '50s to abstraction in the late '50s. The abstraction in the late '60s and '70s was more derived from color-field issues. In the 1980s, Boxer really hit his stride in larger works with lots of thick paint and splashes of color. He sold a lot, and his success in the art world in the 1980s gave him the freedom to do what he wanted to do most. He was married to painter and artist Joyce Weinstein. The Boca Raton Museum of Art in Florida hosted an exhibition entitled Expanding Boundaries: Lyrical Abstraction Selections from the Permanent Collection. At the time the museum issued a statement that said in part: "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Works by the following artists associated with Lyrical Abstraction will be included: Natvar Bhavsar, Stanley Boxer, Lamar Briggs, Dan Christensen, David Diao, Friedel Dzubas, Sam Francis, Dorothy Gillespie, Cleve Gray, Paul Jenkins, Ronnie Landfield, Pat Lipsky, Joan Mitchell, Robert Natkin, Jules Olitski, Larry Poons, Garry Rich, John...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird and Mickey Mouse find themselves in pretty racy company this month in an exhibition of Todd Gray’s monumental photographs...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird and Mickey Mouse find themselves in pretty racy company this month in an exhibition of Todd Gray’s monumental photographs...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird and Mickey Mouse find themselves in pretty racy company this month in an exhibition of Todd Gray’s monumental photographs...

From his series SHADOW CARTOONS. Color iris print, hand initialed in pencil, This is not numbered. It is on Somerset watermarked archival paper Paper size is 30 X 22.25, images 22.75 x 18 with full margins. I believe these images were shown at Shoshana Wayne gallery in the late 1990's. from the LA Times review: Tweety Bird and Mickey Mouse find themselves in pretty racy company this month in an exhibition of Todd Gray’s monumental photographs...

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales...

This is from a limited edition portfolio of original lithographs print Fernand Mourlot in Paris in 1958 from work done in collaboration with Bonnard which began in 1928. This is from the rare first edition, No. VII of 20 unbound sets, specially printed for Hans P. Kraus, with Henry de Montherlant inscription to him signed and dated March 3, 1960 These are not individually hand signed or numbered. On BFK Rives French velin art paper Pierre Bonnard (1867 – 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, (the Naive artists) his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject. Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Metzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse. He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parent's country home at Grand-Lemps near the Cote Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer beginning in 1888. While he was studying law, he also attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson. In 1888 Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for poster for France-Champagne, which helped him convince his family that he could make a living as an artist. He set up his first studio at on rue Lechapelais and began his career as an artist. From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nude works. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married. In 1891 he met Toulouse-Lautrec and in December 1891 showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he and Edouard Vuillard designed frontispiece In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville. The style of Japanese graphic arts became an important influence on Bonnard. In 1893 a major exposition of works of Utamaro and Hiroshige was held at the Durand-Rouel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard. He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892 he began to produce lithographs, and painted two of his early notable works, Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse. In 1895 he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany. In 1895 he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Ambroise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis. Throughout the early 20th century, as artistic styles appeared and disappeared with almost dizzying speed, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping the distinct characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also made 109 lithographs for Parallèment, a book of poems by Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905 he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908 he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909, and in 1911 began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov. During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists. In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925 he purchased a villa in Cannes. In 1938 his works and Vuillard were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939, forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of the French collaborationist leader, Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier. He finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capoue near Le Cannet, on the French Riviera, in 1947. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday. Bonnard particularly used the model of Japanese art in a series...