George Grosz

Large George Grosz 1923 Lithograph Die Rauber German Expressionism WPA Realism

1922-1923

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on watermarked paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbe...

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on laid paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbered in ...

Printed on a slightly reflective metallic silver finished paper. there is a companion piece on a money green paper. A depiction of a ballet dancer, superimposed upon canceled dance c...

Signed. Numbered line etching Norman Kingsley Mailer (January 31, 1923 – November 10, 2007) was an American novelist, journalist, essayist, playwright, film-maker, actor, and libera...

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler, Moshe Tamir and Michael Gross. Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggada, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...

Hand signed in pencil and numbered from the limited original edition. Jean Jansem (Hovhannes Semerdjian) 1920-2013 Bursa, Ottoman Turkish Empire Hovhannes "Jean" Semerdjian (Armenian: Հովհաննես "Ժանսեմ" Միրիջանի Սեմերջյան, 9 March 1920 – 27 August 2013), also known as Jean Jansem, was a French-Armenian painter. Jansem's artworks are internationally known, and are part of museum collections throughout France, Japan and the United States. A Foreign member of the National Academy of Sciences of Armenia (2002). He was awarded by the Ordre des Arts et des Lettres in 1953 and by the Knight of the French Legion of Honour in 2003. The President of Armenia awarded Jansem a Medal of Honor for his “reinforcement of Armenian-French cultural ties.” Hovhannes Semerdjian was born in 1920 in Bursa, then in the Ottoman Empire. In 1922, his family fled to Greece. He spent his childhood in Thessaloniki. They arrived to Issy-les-Moulineaux suburb of Paris, France in 1931 when he was 11 and that is when he begin to paint. The first professional schools for Jansem became the academies of Montparnasse (1934–1936). He studied in the Ecole des Arts Decoratifs. His teachers were Maurice Brianchon, Raymond Legueult and Roland Oudot. Jansem also studied at the Sabatie studio for a year. Early paintings by Jansem were mainly on national issues. Known for his washy representational paintings of figure, landscape, marine and genre scenes of European subjects: fishermen and children of Greece, bullfighting in Spain, Italian landscapes and markets, scenes of Venice and French France village marketplaces and landscapes, nude women, still lifes, and figures, Jansem painted with a variety of media that included gouache, watercolor, ink, and oil painting in a stylized and textural aesthetic. had individual exhibitions in Paris, New York, Chicago, London, Tokyo, Rome, Brussels, Lausanne, Beirut etc. His work was shown by the prominent Wally Findlay Galleries in New York, Paris, Palm Beach and Beverly Hills (they show many important artists including Gaston Sebire, Henri Maik, Gen Paul, Jean Pierre Cassigneul, Jean Dufy, Gustavo Novoa, Nicola Simbari, Dietz Edzard, Suzanne Eisendieck, Constantin Kluge, Louis Valtat, Michael Vollbracht...

Chelsea Rags. Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. "And his interest in London has not been restricted to the Thames. Seeing the beautiful, where other men might be discouraged by dullness, he has taken his subject, now in the little cheap shop opening a low window upon the street, now in the forgotten church hidden away in a lonely square. And Chelsea Rags, the Shops of Chelsea, the Drury Lane, as well as The Butcher's Dog, are impressions of vague Rembrandtesque interiors where figures, grim or graceful, peer from out deep shadows— shops as lovely in his prints as the halls of a Veronese, or the palaces of a Claude." Elizabeth Robins...

Twenty hand-signed, numbered, and titled images based on the selected work of Maupsassant. Portfolio containing 20 lithographs based on selected tales by de Maupassant, printed on h...

Lucille Fink creates densely drawn compositions, often a little off-beat. Signed and titled. Dated on the reverse.

Lithograph with watercolor. 22 3/8 x 30 5/8. Edition 56 (plus 5 artist's proofs). A bright impression printed on the full sheet of Arches paper. Signed and numbered 4/56 in pencil. ...

Lloyd William Wulff. Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blind stamp. Printed on cream wove paper with fu...

Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...