Alexandre Falguière Art

Helio-etching on hand-made paper, 1925 by Paul Klee. Signatur is printed, lower right: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 28 Image: 5.63 x 7.48 in ( 14...

Helio-etching on hand-made paper, 1927 by Paul Klee. From portfolio "Paul Klee, Handzeichnungen 1921-1930" Here no 41 Measurements: Image: 5.51 x 7.48 in ( 14 x 19 cm ), Framed: 13.4...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”[2] What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.[3] Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”[4] In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Spanish painter, engraver, master typographer and editor Louis Jou ( 1882 – 1968 ) became a naturalized French citizen and was known as an artist of the French School . He set up his own publishing house in Paris and gained a reputation as one of the greatest typographers of the 19th century. His original etchings and wood engravings appeared in books authored by Victor Hugo, Andre Gide, Cervantes and many more. Jou’s etchings also appeared in the Gazette des Beaux Arts published in Paris. Beginning in 1859 until it’s final year in 1930 the Gazette became known for it’s role in the revival of etching as a creative process as vital as painting and sculpture. The Gazette regularly commissioned the greatest etchers of the time including such artist’s such as Whistler, Goya, Max Lieberman...

Art Deco colored etching by Louis Icart ( 1888-1950 ), France. 1925. Signed in pencil lower right: Louis Icart. Dated top left: Copyright 1925 by Gravures Modernes, Paris. Decorativ...

Helio-etching on hand-made paper, 1923 by Paul Klee. Signatur is printed, lower center: Klee From portfolio Paul Klee, Handzeichnungen 1921-1930; Here no 15 Image: 5.55 x 7.48 in ( 1...

Framed: 39 3/8 x 30 1/8 x 1 1/2 inches, 3/4 inch face, Wood frame Wayne Thiebaud was born Mesa, Arizona in 1920, and his family soon moved to Los Angeles in 1921. In high school he ...

Etching Edition 143/175 Last 2 left, new, not preowned Video attached This is a series of original etchings from respected European artist Cuca Romley. Ms Romley is 91 years and cur...

Frantisek Kupka, Czech (1871 - 1957) - Amorpha (Color). Year: 1913, Medium: Color Etching on Richard de Bas, stamp signed, Image Size: 9 x 5.75 inches, Size: 20.25 x 12.75 in. (51.44...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - Vue d'Omval pres d'Amsterdam (B209). Year: 1878 (of original 1645), Medium: Heliogravure, Size: 7.5 x 9 in. (19.05 ...

Rembrandt van Rijn, After by Amand Durand, Dutch (1606 - 1669) - View of Amsterdam from the Northwest. Year: original 1640, Medium: Heliogravure, Size: 4.5 x 6 in. (11.43 x 15.24 ...

Etching in colours with letterpress relief and a 266-page book Signed on the front and numbered on the back by the artist Print: 31.9 × 22.4 cm (12.5 x 8.8 in) Book: 32 × 23 cm (12.5...