Der Ruhende Hirsch, 1923: Rare Deer Lithograph by Nathan Altmann

The artwork titled "Der Leuchter" (The Candelabra) is a striking lithograph from Nathan Altmann's "Jüdische Graphik" series, produced in a limited edition of only 250 copies in 1923. This work exemplifies Altmann's avant-garde style, blending traditional Jewish themes with the modernist aesthetics of Cubism. The candelabra, traditionally a significant symbol in Jewish culture—often associated with the menorah—here is abstractly interpreted, adding layers of cultural and spiritual meaning. Altmann’s choice of a burnished gold background not only enriches the visual impact but also elevates the symbolic elements, giving the artwork a solemn and revered quality. This specific piece, like others from the series, was produced in Berlin by the publisher "Petropolis," reflecting the vibrant Jewish artistic community that existed in pre-war Europe. Altmann’s work, especially given his background as a Jewish artist in Soviet Russia, often navigated between his cultural identity and the broader avant-garde movements, making each of his pieces historically and artistically significant. This print, considering its rarity and the mystery surrounding the number of surviving copies, is an exceptional representation of Jewish cultural history intertwined with early 20th-century art movements. Nathan Altman was an influential figure in the Russian and Soviet avant-garde movement. Born in 1889 in Vinnytsia, Ukraine, he studied at the Odessa Art School, later moving to Paris to further his education at the Academie de la Grande Chaumiere. Altman's style evolved over the years, showing strong influences from Cubism and Futurism, which are evident in his approach to stage design and book illustration as well. Altman's contributions extend beyond visual arts; he was also notable for his set designs for Jewish theaters...

This lithograph, part of Nathan Altmann's "Jüdische Graphik" series, depicts a stylized vase with a flower, produced in 1923. The artwork, in black and white on a burnished gold background, showcases Altman's avant-garde approach to graphic design and illustration. The use of simple, yet bold forms highlights the modernist influence on Altman, merging elements of Cubism with a symbolic representation that might suggest themes of growth, beauty, or fragility. The vase and flower motif, although a common subject in art, is transformed under Altman's hand into a piece that reflects both the artistic trends of the early 20th century and the cultural identity of the Jewish community in Berlin at that time. The production of only 250 copies makes this print a rare and significant piece, with its current existence a testament to the historical and artistic value of Altman's work. Altman's background as a Russian and Soviet artist who engaged deeply with Jewish themes...

"October Afternoon" Maintains the appropriate markings along with "New York, Published by N. Currier 152 Nassau Street. (The firm was located here in lower Manhattan from 1837-1872) The lithograph illustrates two men and their dog with young son (hunting rifle over shoulder) in tow, returning from the rabbit hunt with their catch being presented to the lady of the house with baby in arms. The gated mansion is in the background while geese float upon the fertile pond in the background. In addition to the Amon Carter Museum in Dallas, an example of "Pleasures of Winter" is in: The Metropolitan Museum of Art (Bequest of Adele S. Colgate, 1962) Museum of Fine Arts Boston (Donated by Lee M. Friedman) The Library of Congress The Yale University Art Gallery (Gift of Mabel Brady Garvan Collection) Dimensions: actual= 16 1/2" h x 23 13/16" w matte= 19 1/2" h x 25 1/4" w folio= 21 1/4" h x 27 3/4" w with frame= 26 1/4" h x 32 1/4" w frame= 1 1/4" burl bird's eye maple It is in very good all original condition; and housed and professionally mounted in a fine quality and attractive bird's eye maple wooden frame with preservation backing and frontal protective glass (important when dealing with 170 year old lithographs); it is the rare and desirable Currier large folio sheet example in fine original color. There is some slight foxing to the cream border and minor fading (see images), The larger folios are more rare because they appealed to the wealthier sector of the population and were more expensive, thus fewer were made, albeit, knowing their more discerning customer base, there was more attention given to detail; hand coloring, and quality for example. This example has been framed and housed in museum quality conservation backing for over 80 years. I have had it professionally taken apart and I inspected the folio visually, and examined it with a black light and loop; as a result, I guarantee and can attest to the accuracy of my description of the lithograph. I then had the folio professionally remounted in it's original frame with an upgraded preservation backing (see images of original folios out of frame and for confirmation of inspection). This lithograph has no tears, no touch up paint, and no glued or taped repairs. This is one of the four iconic and highly desirable set of lithographs made by Nathaniel Currier (1813-1888) dated 1855 from the American Country Life series. They are named; Spring "May Morning"; Summer "Summer Evening"; Fall ""October Afternoon"; and Winter "Pleasures of Winter". The lithograph was produced from the painting of well known artist Frances (Fanny) Flora (Bond Palmer (1812-1876). She painted typical American scenes of daily American life that were used by Currier for years to come. She was an accomplished artist by the time she migrated to the United States from England, and Currier commissioned her to do the country scenes for this series. Each of the original images are toned lithographs with applied hand painted watercolor. The lithograph reflects an affluent life style, showcasing grandiose homes and glamorizing the rural way of living as urban areas became more densely populated with the tidal wave and arrival of immigrants. Nathaniel Currier began his lithograph business in 1835 with hand colored images portraying outdoor panoramic, historical, pastoral, and landmark scenes and events, with which the middle class and the wealthy sought to decorate their houses. James Ives (1824-1895) was his accountant) and would join him later in 1857 to help run the business. The hand painted lithograph is embellished with script text in the bottom margin of the folio "Entered according to art of congress in the year 1855 by N. Currier in the clerk's office of the southern district of N.Y." "F.F Palmer...

Pair of rare signed Art Deco lithographs by Boris Lovet-Lorski. Lacquered wood frames. Boris Lovet-Lorski (1894-1973), sculptor, lithographer, and painter who contributed significantly to the American Art Deco movement, was born in Lithuania in 1894. Trained as an architect at the Royal Academy in Petrograd, Boris Lovet-Lorski was very aware of volume and structural space. His architectural background combined with other influences like the flattened aesthetic of Art Deco, produce a distinctly original style. Along with his idealized subjects, the originality and artistry of his design quickly won the young sculptor...