Florida - Prints and Multiples

Artist: Dan May (American, 1955-) Title: "Dog Dreams (Black)" *Signed and numbered by May in pencil lower left Year: 1985 Medium: Original Screenprint on unbranded white wove paper L...

Edition limited to 50 Size: 22" x 28" Philomena Marano has spent decades “penetrat[ing] the soul of Coney Island to reveal its twin promises of candy-colored paradise and garishly or...

Soft ground aquatint and chine-collé print by artist Leiko Ikemura. Edition number 13 of 20. Framed under glass in black frame. Framed dimensions: 26 x 22 1/4 inches. Image dimension...

From the Ladies and Gentlemen Portfolio. Screenprint in colors on arches paper. Hand signed and numbered by the artist on verso. From the edition of 125. Published by Luciano Ans...

Original stipple engraving with colors titled “Les Revers de la Fortune” (Reversal of Fortune) by the well known French engraver, Louis Marin Bonnet...

Myriam Bat-Yosef Surrealist abstract lithograph print in colorful abstract shapes and shades Hand signed and dated 1971. sheet measures 9.25 X 9.25 inches ...

Artist: Keith Haring Title: Plate 2 from Story of Red and Blue (L. pp. 128-133) Medium: Screen print in colors on wove paper Sheet Size: 22 x 16.5 inches Frame Size: approx 28.5 x 22...

In an expansion of Julian Opie's subject matter, from his observations of city dwellers, figures walking in the rain, runners and tourists to busy crowds of workers, the four new edi...

"Astaire and Rogers" original etching by Al Hirschfeld. Caricature portraits of Fred Astaire and Ginger Rogers Edition 37 from the Delux...

Giclee on canvas. Hand signed and numbered on front by Pino Edition of 500. Canvas is not stretched. Artwork is in excellent condition. Certificate of authenticity included. All ...

Artist: Lester Johnson Title: Street Scene 4 Medium: Lithograph Signed: Hand Signed Edition: Edition of 175 Measurements: 29" x 21" Year: 1978 Note: This piece is sold UNFRAMED Con...

Screen print in colors on wove paper. Hand signed, dated and numbered by KAWS. Edition 61/100 (there were also 15 artist's proofs). Published by KAWSONE, Brooklyn. Frame size ap...

Myriam Bat-Yosef Surrealist abstract lithograph print in colorful abstract shapes and shades Hand signed and dated 1971. sheet measures 9.25 X 9.25 inches The envelope and the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol, Toyen, Alice Rahon...

Untitled 1 Etching original painting number 12 of an edition of 15 engravings. Jaume Plensa Suñé (Barcelona, 1955) is a Spanish plastic artist, sculptor and engraver. Very versatile artist who has also experimented with drawing, opera sets, video projections or acoustic installations.1 He is known for his large sculptures made up of letters and numbers.2 Born in Barcelona in 1955, he studied at the Llotja School and the Sant Jordi Superior School of Fine Arts. Trajectory In a first stage, his work reflects an interest in issues related to volume, space and tension. In 1983-1984 he began to mold iron with the casting technique and developed a sculptural concept of zoomorphic forms using cuts and folds. In 1986 he started working with cast iron, and later he used glass, resin, lights and sounds. Since 1996 he has also been dedicated to creating elements and sets for opera and theater productions, mainly in collaboration with the company La Fura dels Baus. He also stands out as a draftsman and engraver. In 2008 he made the sculpture called "Alma del Ebro" in Zaragoza (Aragon) on the occasion of the International Water Exhibition held there. This sculpture is 11 meters high and is located in front of the Palacio de Congresos, on the banks of the Ebro river. The letters represent cells of the human body, which is made up of more than 60% water. Its white letters and hollow structure invite the viewer to look inside and reflect on the relationship between human beings and water. In December 2012, he was elected the winner of the 2013 National Prize for Graphic Art awarded by the National Calcography and which recognizes the artist's career in the field of graphic art.3 In 2012 he produced the poster for the Festival de la Mercè in Barcelona. Honors The main distinctions obtained by the artist have been the following: • 1993: Medaille des Chevaliers des Arts et Letres, Ministry of Culture, France. • 1996: Prize of the Fondation Atelier Calder...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stonehedge black paper Hand signe...

Artist: Fran Bull Title: Horses of the Camargue Medium: Silkscreen Signed: Hand Signed Edition: From the edition of 250 Measurements: 22" x 29 1/4" Frame: This piece is sold UNF...

Photolith on arches paper from the series Time. Hand signed and numbered by the artist. From the EA edition of 30. There is also a main edition of 300. Sheet size 29.5 x 21 inche...

Le masque à gaz, 1971, edition of 300. Signed "Arman" in pencil l.r., numbered in pencil l.l. Lithograph in purple and gold on paper, image size 25 3/8 x 19 3/8 in. (64.3 x 49.0 cm),...

Actual image size is 10.5 x 13.5. Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a set of 32 hand-s...

Artist: John Hultberg Title: Barricade Medium: Serigraph Signed: Hand Signed Edition: Edition of 200 Measurements: 36" x 24" Note: This piece is sold UNFRAMED Condition: Excell...

The search for the perfect kitchen poster ends here! This charming and lighthearted image was created for the German pasta brand, Perlach c1948. The star of the show in this design i...

Edition of 200 Coney Island Philomena Marano is known for her colorful cut paper technique. She worked with Robert Indiana. Ms. Marano's work is in m...

PABLO PICASSO (1881-1973) Profil de Jacqueline (A. R. 457) Terre de faïence plate, painted colors and partially glazed, 1962, numbered 83/100 and inscribed Edition Picasso, with t...

Pietro Consagra (Italian, 1920-2005). Hand signed in pencil and numbered limited edition color lithograph on Magnani paper. Embossed stamp with limited edition numbers in pencil to lower left, and having artist pencil signature to lower right. (from a limited edition of 80 with 15 artist's proofs) Published by Stamperia 2RC, Rome Italy and Marlborough Gallery, Rome, Italy. Abstract Modernist work in colors, produced in the style of the Forma art movement of Postwar Italy, of which the artist was a prominent member. Pietro Consagra (1920 – 2005) was an Italian Post war artist working in painting, printmaking and sculpture. In 1947 he was among the founding members of the Forma 1 group of artists, proponents of structured abstraction. (similar to the Art Informel and Art Brut in France and the Brutalist artists) Consagra was born on 6 October 1920 in Mazara del Vallo, in the province of Trapani in south-western Sicily, to Luigi Consagra and Maria Lentini. From 1931 he enrolled in a trade school for sailors, studying first to become a mechanic, and later to become a captain. In 1938 he moved to Palermo, where he enrolled in the liceo artistico; despite an attack of tuberculosis, he graduated in 1941, and in the same year signed up at the Accademia di Belle Arti, where he studied sculpture under Archimede Campini. After the Invasion of Sicily and the Allied occupation of Palermo in 1943, Consagra found work as a caricaturist for the American Red Cross club of the city; he also joined the Italian Communist Party. Early in 1944, armed with a letter of introduction from an American officer, he travelled to Rome. There he came into contact with the Sicilian artist Concetto Maugeri, and through him with Renato Guttuso, who was also Sicilian and who introduced him to the intellectual life of the city and to other postwar artists such as Leoncillo Leonardi, Mario Mafai and Giulio Turcato. Consagra signed up at the Accademia di Belle Arti di Roma in September 1944 and studied sculpture there under Michele Guerrisi, but left before completing his diploma. In 1947, with Carla Accardi, Ugo Attardi, Piero Dorazio, Mino Guerrini, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, Consagra started the artist's group Forma 1, which advocated both Marxism and structured abstraction. Steadily Consagra's work began to find an audience. Working primarily in metal, and later in marble and wood, his thin, roughly carved reliefs, began to be collected by Peggy Guggenheim and other important patrons of the arts. He showed at the Venice Biennale eleven times between 1950 and 1993, and in 1960 won the sculpture prize at the exhibition. During the 1960s he was associated with the Continuità group, an offshoot of Forma I, and in 1967 taught at the School of Arts in Minneapolis. Large commissions allowed him to begin working on a more monumental scale, and works of his were installed in the courtyard of the Foreign Ministry in Rome and in the European Parliament, Strasbourg. His work is found in the collections of The Tate Gallery, London, in Museo Cantonale d'Arte of Lugano and the Museum of Modern Art, Paris, and the National Gallery of Art in Washington, D.C.. Consagra returned to Sicily where he sculpted a number of significant works during the 1980s. With Senator Ludovico Corrao, he helped created an open-air museum in the new town of Gibellina, after the older town had been destroyed in the earthquake of 1968. Consagra designed the gates to the town's entrance, the building named "Meeting" and the gates to the cemetery, where he was later buried. In 1952 Consagra published La necessità della scultura ("the need for sculpture"), a response to the essay La scultura lingua morta ("sculpture, a dead language"), published in 1945 by Arturo Martini. Other works include L'agguato c'è ("the snare exists", 1960), and La città frontale ("the frontal city", 1969). His autobiography, Vita Mia, was published by Feltrinelli in 1980. In 1989 a substantial retrospective exhibition of work by Consagra was shown at the Galleria Nazionale d'Arte Moderna in Rome; in 1993 a permanent exhibition of his work was installed there. In 1991 his work was shown in the Hermitage Museum in St. Petersburg. In 2002 the Galerie der Stadt Stuttgart opened a permanent exhibition of his work. He was one of ten artists invited by Giovanni Carandente, along with David Smith, Alexander Calder, Arnaldo Pomodoro, Lynn Chadwick, and Beverly Pepper, to fabricate works in Italsider factories in Italy for an outdoor exhibition, "Sculture nella città", held in Spoleto during the summer of 1962. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein, Julio Gero, Naum Knop...

Artist: Thomas McKnight (American, 1941-) Title: "Maidstone" Portfolio: The Hamptons *Signed by McKnight in pencil lower right Year: 1987 Medium: Original Screenprint on soft-white Somerset paper Limited edition: 143/175, (there were also 40 artist's proofs) Printer: Willco Fine Art, New York, NY Publisher: Chalk & Vermilion, New York, NY Sheet size: 21" x 23" Image size: 16.13" x 18.13" Condition: Never framed, has been professionally stored away in its original green silk boxed portfolio for decades. In mint condition Notes: Numbered by McKnight in pencil lower left. Comes from McKnight's 1987 "The Hamptons" portfolio of twelve screenprints. Artist's copyright stamp lower right on verso. Biography: Thomas McKnight (born 1941) is a U.S. artist. He was born in 1941 in Lawrence, Kansas. He attended Wesleyan University, a small liberal arts college in Middletown, Connecticut, where he was one of only five art majors. He spent his junior year in Paris. After a year of graduate work in art history at Columbia University, in 1964 McKnight found a job at Time Magazine where he would work for eight years, interrupted by a two-year stint in the U. S. Army in South Korea. In 1972 McKnight left Time, summered on the Greek island of Mykonos, and commenced painting in earnest. In 1979 in Mykonos, McKnight met Renate, a vacationing Austrian student, and married the following year. Throughout the 1980s McKnight’s art, mainly limited edition serigraph prints, became increasingly popular. In 1994 he was commissioned by the White House to paint the first of three images for President Clinton...

"The mastery evident in creating two archetypes of the female form against a decorative background confirms Mucha’s artistic maturity. Both women, portrayed in profile, have their he...

Screen print in colors on hand made wove paper. Hand signed on horizontal black bar by Jim Dine. Hand numbered 78/200 lower left. From 11 Pop Artist's Volume II (Mikro 36). Publi...

Heavily textured abstract print in a serigraph and terragraph technique. It has a raised texture to the surface, A beautiful piece. This listing is for the one print, the cover justification sheet and the photograph are just included for provenance. This is from the limited edition of 100. Hand signed and numbered on colophon page. (They are not signed and numbered on each print) Arches paper. Dimensions: 15.75 X 15.25 These have a texture that feels like a painting. Done in Jaffa Israel based on the Hebrew Bible. Jewish, Judaica interest. Emil Schumacher is among the best-known exponents of Art Informel in Germany. His painting style, which he initially developed in the 1950s under the influence of Wols, is marked by dark, brownish black or brilliant thick red colours and a graffiti like sign language that endow the pictures the expressive character of old cracked masonry. Emil Schumacher (29 August 1912 in Hagen, Westfalen – 4 October 1999 in San José, Ibiza) was a German artist and painter. He was an important representative of abstract expressionism in post-war Germany. As an 18-year-old, Emil Schumacher undertakes a four-week-long bicycle tour to Paris, France. 1932–1935: Studies graphic design at the School of Applied Arts in Dortmund intending to become a graphic designer in advertising. 1935–1939: Independent artist without participating in exhibits. He undertakes study trips by bicycle to the Netherlands and Belgium. 1939–1945: Service obligation as draftsman in an arms factory, the Akkumulatoren–Werke of Hagen. Since 1945: Immediately after end of war, new start as independent artist. 1947: First solo exhibit in the Studio für neue Kunst. Co-founder of the artist group Junger Westen. 1954: Participates in the Willem Sandberg...

Artist: Philip Lutley Sclater (English, 1829-1913) Titles: "Loria Mariae (MacGregor's Bowerbird)", "Cnemophilus Macgregorii (Crested Satinbird)", "Aegotheles Savesi (New Caledonian O...

Giacomo da Prato Faraglioni, Capri, Italy, 2022 40 x 40 inches edition of 10 Archival Pigment Print Mounted and Framed Certificate of Authenticity

Del Monte Roundup Savin' Stampede Bronco is part of a c. 1965 advertising campaign for Del Monte Foods. Del Monte Foods is a California based company founded in 1886 that specializes...

Blohm studied painting at the Academy of Fine Arts in Munich, Germany and moved to New York in 1984, later establishing a second studio in Berlin. She is in numerous international co...

Jacqueline Kennedy I, from 11 Pop Artists I. Screenprint in silver, on wove paper. Artist's stamped signature on the reverse and numbered. From the edition of 200. Published by O...

Handsigned edition of 250. Gittleman’s Lunar Transformation is a series of ten vividly colored serigraphs created from black and white photographs taken during the Apollo 15 mission to the moon in 1971. Gittleman uses bright color to transform the craters and crevices of the lunar surface into vibrant abstractions which recall Abstract Expressionist painting. The strong graphic prints reflect the awe-inspiring nature of their source material. photographer, film maker, video producer, graphic designer, multimedia developer, clock maker and teacher. Guggenheim fellowship (graphics), Cannes Film festival, Academy Award Nomination. Work in permanent collections: MFA Boston, MOMA NY, Smithsonian Institution and Fogg Museum, Harvard. He exhibited with Gyorgi Kepes Solo shows: Lunar Transformations: 10 Serigraphs by Len Gittleman - Institute of Contemporary Arts, London Group shows: Integrated Vision: Science, Nature, and Abstraction in the Art of Len Gittleman and György Kepes - DeCordova Sculpture Park and Museum, Lincoln, MA Abstract Photography in the Permanent Collection - DeCordova Sculpture Park and Museum, Lincoln, MA Photography in Boston - 1955-1985 - DeCordova Sculpture Park and Museum, Lincoln, MA Some Photographic Use of Color: Fred Berman...

This is from a hand signed, limited edition (edition of 125) folio or full page lithographs some having a poem verso. The individual sheets are not signed or numbered. This listing ...

Gerd Leufert Title: Erebos Signed, titled, dated ‘91 and inscribed P/A in pencil (lower center) Screenprint on paper 23⅝ by 22⅜ in. / 60 by 56.8 cm. Executed in 1991, this work is an artist’s proof from an edition of 35 plus 1 artist’s proof. Provenance: Private Collection, Venezuela - Acquired from the above by the present owner - Sotheby's Auction “The first duty of the creator: restlessness,” Gerd Leufert wrote in 1985, looking back on his 30-year career as an artist, designer, museum worker, and professor of art in Venezuela.1 Bridging the worlds of commerce and culture in Caracas, Leufert’s impact on art and design owed to his interdisciplinary approach: the influence of cutting-edge developments in abstract art appeared in his graphic design, while the efficiency and bold contrast of mid-century design characterized his paintings. An immigrant born in German-controlled Lithuania at the cusp of the first World War, Leufert studied arts and design in Hannover, Mainz, and, finally, in Munich with the German typographer Fritz H...

Artist: George Edwards (English, 1694-1773) Title: "Set of Two Hand-Colored Ornithological Engravings by George Edwards" Portfolio: A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals / Gleanings Of Natural History Year: 1743-1764 Medium: Set of Two Original Hand-Colored Engravings on watermarked laid and wove papers Limited edition: Unknown Printer: C. Rickaby, London, UK Publisher: William Gardiner and Messrs. Robinson, London, UK Reference: Mullens and Swann page 194-195; Anker No. 124-126; Fine Bird Books page 93; Lisney page 128-144; Nissen IVB No. 286-288; Zimmer page 192-198 Sheet size (each): approx. 11.25" x 9" Image size (each): approx. 8.63" x 7.38" Condition: "90" has faint offsetting to sheet. "308" has one foxmark center right. They are both otherwise in excellent condition with strong colors Notes: Comes from Edwards seven volume portfolio "A Natural History of Uncommon Birds, and of Some Other Rare and Undescribed Animals" / "Gleanings Of Natural History" (1743-1764), which consists of 362 hand-colored engravings. "90" is on laid paper with a "fleur-de-lis" watermark at center left edge. "308" is on wove paper with no watermark. The last image of the cover title sheets is for reference/provenance; it is not included. Biography: George Edwards FRS (3 April 1694 – 23 July 1773) was an English naturalist and ornithologist, known as the "father of British ornithology". Edwards was born at West Ham...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Männlicher Kopf von vorn (Male Head from the Front)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 226, page 46; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 6.38" x 3.5" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

Myriam Bat-Yosef Surrealist abstract lithograph print in colorful abstract shapes and shades Hand signed and dated 1971. sheet measures 9.25 X 9.25 inches The envelope and the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol, Toyen, Alice Rahon...

''FMSWNL'' from the limited edition of 100. Pencil hand signed and dated. Joan Snyder, (born April 16, 1940), is an American painter from New York. She is a MacArthur Fellow, a Gu...

ARTIST: Salvador Dali TITLE: Alchimie des Philosophes Le Phenix MEDIUM: Etching on parchment paper SIGNED: Hand Signed PUBLISHER: Art et ...

Etching in colors on paper. Hand signed and numbered by Max Papart. Image size 31 x 25 inches. Sheet size 39 x 31 inches. Frame size approx 44 x 37 inches. Edition HC IX/XV. Ar...

TWA (Trans World Airlines) was formed in 1924 as Transcontinental & Western Air. The airline's first route was New York to Los Angeles, soon followed by multiple National routes. The...

Framed 32 x 26 image 22 x 16 Charles Levier (1920-2004) He was born in 1920 of a French father and American mother in Corsica. He held a fascination with color and form that led him...

Artist: Salvador Dali (Spanish, 1904-1989) Title: "Frère Ogrin, l'hermite (Brother Ogrin, the Hermit)" Portfolio: Tristan et Iseult *Monogram signed by Dali in pencil lower right Year: 1970 Medium: Original Engraving on Mandeure paper Limited edition: 101/125 Printer: Atelier Rigal, Paris, France Publisher: Leon Amiel, New York, NY and Paris, France Reference: "The Official Catalog of the Graphic Works of Salvador Dali" - Field No. 70-10-K, page 60; "Dali: Catalogue Raisonné of Etchings and Mixed-Media Prints, 1924-1980" - Michler/Löpsinger No. 416, page 183-184 Framing: Recently framed in a gold ornate moulding with 100% cotton rag matting, gold filet, and 99% UV protective Museum Glass Framed size: 28" x 22.25" Sheet size (folded): 18" x 12.75" Sheet size (unfolded): 18" x 25.5" Image size: 15.75" x 10.5" Condition: One tiny tear upper left. Some faint spots lower left. It is otherwise a strong impression is excellent condition Notes: Provenance: private collection - Indianapolis, IN; acquired from Ferdinand Roten Galleries, Baltimore, MD retaining their original gallery label on verso. Numbered by Dali in pencil lower left. Comes from Dali's 1970 "Tristan et Iseult" portfolio of 21 color engravings. Leon Amiel chop mark/blind stamp lower left. These engravings from the "Tristan et Iseult" portfolio were printed on folded sheets with their respective text descriptions as issued. We are specialists in Salvador Dali's printmaking oeuvre, having personally worked with his cataloger Albert Field in the 1980's, we unconditionally guarantee all of our examples to be authentic. Biography: Salvador Dalí (May 11, 1904 – January 23, 1989), was a prominent Spanish Catalan surrealist painter born in Figueres, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes...

John Hultberg (1922-2005) Lithograph Serigraph Greenhouse Hand signed lower right and hand numbered edition of 200 Sheet size 26" x 34 Image Size: 24 x 32 inches John Hultberg (1...

Artist: Takesada Matsutani Title: Fly Medium: Screenprint Signed: Hand Signed Edition: 13/175 Measurements: 23" x 28.5" Year: 1971 Note: This piece is sold UNFRAMED Condition:...

This poster was created by the American watercolor artist, John Gallucci (1918 – 2009) in 1979 and was commissioned by the Winter Olympic Organizing Committee. It promoted and commem...

Giclee on canvas. Hand signed and numbered on front by the artist. Canvas image size 40 x 30 in. Artwork is in excellent condition. Certificate of authenticity included. Edition of ...

Serigraph on clayboard panel. Hand signed and numbered by the artist. Edition PA of 15. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offer...

Artist: Pierre Bulliard (French, 1742-1793) Title: "Le Pied de Griffon (Griffin's Foot)", "La Laureole (The Laurel)", and "Le Cabaret d'Europe (The European Cabaret)" Portfolio: Herb...

Elvira Bach (Germany, 1951) "Tras las bambalinas" (Behind the scenes), 2004 silkscreen with diamond dust on paper (see pictures) 40.6 x 29.6 in. (103 x 75 cm.) Edition of 99 ID: BAC1...

Artist: (after) Roy Lichtenstein (American, 1923-1997) Title: "Palm Springs Desert Museum (Still Life with Longhorn Skull and Cactus)" Year: 1982 Medium: Original Offset-Lithograph, ...

Artist: Henri Fantin-Latour (French, 1836-1904) Title: "Vison" Portfolio: Gazette des Beaux-Arts *Issued unsigned Year: 1895 Medium: Original Lithograph on chine appliqué on wove paper Limited edition: approx. 1,500 Printer: Imprimeries Lemercier, Paris, France Publisher: Gazette des Beaux-Arts, Paris, France Reference: Hediard No. 122 (IV/IV); Sanchez & Seydoux 1895-6, page 126 Sheet size: 11" x 7.38" Image size: 7.5" x 5.75" Condition: Some minor discoloration in margins. In excellent condition Notes: Original cover tissue sleeve mounted at left margin as issued. This lithograph was published by Gazette des Beaux-Arts. The Gazette des Beaux-Arts was a French art review, found in 1859 by Édouard Houssaye, with Charles Blanc as its first chief editor. Assia Visson Rubinstein was chief editor under the direction of George Wildenstein from 1928 until 1960. Her papers, which include all editions of the Gazette from this period, are intact at the Cantonal and University Library of Lausanne in Dorigny. The Gazette was a world reference work on art history for nearly 100 years - one other editor in chief, from 1955 to 1987, was Jean Adhémar. It was bought in 1928 by the Wildenstein family, whose last representative was Daniel Wildenstein, its director from 1963 until his death in 2001. The review closed in 2002. Biography: Henri Fantin-Latour, in full Ignace-Henri-Jean-Théodore Fantin-Latour (born Jan. 14, 1836, Grenoble, France—died Aug. 25, 1904, Buré), French painter, printmaker, and illustrator noted for his still lifes with flowers and his portraits, especially group compositions, of contemporary French celebrities in the arts. Fantin-Latour’s first teacher was his father, a well-known portrait painter. Later, he studied at the school of Lecoq de Boisbaudran and attended the École des Beaux-Arts. He exhibited at the official French Salons, but in 1863 he also showed his work in the rebel Salon des Refusés. Although academic in manner, Fantin-Latour was independent in style. He had numerous friends among the leading French painters of his day, including J.-A.-D. Ingres, Eugène Delacroix, Camille Corot, Édouard Manet, and Gustave Courbet. His portrait groups, often arranged in rows of heads and figures like 17th-century Dutch guild portraits...

In this whimsical design created by the gifted poster artist Bernard Villemot, we see the modern day dog admiring the voice and image of his master in the television screen. In the b...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Picris (Sunflower); Helmintia (Bristly Oxtongue)" (Syngenesie; Polygamie, Plate 648) Portfolio: Histoire Na...

Alfredo Sosabravo (Cuba, 1930) 'Circo fantástico', 2001 silkscreen on paper 25.2 x 30.4 in. (64 x 77 cm.) Edition of 100 Unframed ID: SOS1289-002-100 ________________________________...

Maybe her name doesn’t ring a bell. Like everyone else who ever went into the old Mooresville Post Office at 305 N. Main St., across the street from the bank, I would look at the large mural over the door to the postmaster’s office — now the school district superintendent’s office — read the name of the artist, and wonder who she was. Alicia Wiencek (April 23, 1918- Feb. 17, 1961) has remained something of an enigma, at least locally. I set about finding more regarding the artist. The first clue I found about her came from a small, 1937 article in the old Mooresville Enterprise: “Miss Alicia Wiencek of New York City will paint the mural for the local [post office] building. She was in the city several days last week, looking over the various industries and talking with a number of ‘old–timers’ about Mooresville’s early history and present trend of development. She visited a number of places of business, the cotton gins and the mills, seeming to be impressed with the importance of the cotton industry, so that it is believed cotton will at least have its share of the subject matter of the decoration. “The mural will cover the space above the entrance to the postmaster’s office, a space of about 8 by 4 feet. It is not known whether Miss Wiencek will do the work here, or whether she will bring it with her completed, upon her return.” Fine, but what happened to her after she did the mural in Mooresville? What other works did she complete? Where might one go to view them? How long did Miss Wiencek stay in the Mooresville area, absorbing local color and sights? Alicia was born in Chicopee, Mass., and was apparently of Polish descent. She studied at the Art Students League in New York City. One of her instructors there was Ernest Feine (1894-1965), a naturalized citizen of German birth who was both a painter and a printmaker. He was also known for his fine murals and frescoes. Ernest, with Alicia as his assistant, worked on two murals, one for the post office in Canton, Mass., and one in Washington, D.C., in the Department of the Interior Building. The two must have worked well together, for Feine divorced his first wife and married Alicia on Aug. 13, 1945, in Connecticut. Of the two artists, Ernest is the more famous. But back to Mooresville. The official title of her oil-on-canvas work in Mooresville is “The Cotton Industry in North Carolina.” It is interesting to note that the post office building was completed and in use by August 1937, several months before Alicia received the government contract for the mural. Her work was part of President Roosevelt’s New Deal, a Works Progress Administration project to put artists and writers to work during the Great Depression. The old Mooresville Post Office Building is one of several in the same style in North Carolina built according to the town’s population. The old post offices in Beaufort, Laurinburg, Marion, Siler City, Wake Forest...

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...

Hand signed and numbered by the artist. Lithograph in colors. Edition of 300. Artwork is in excellent condition. Certificate of Authenticity included. All reasonable offers will...