Art, Prints, & Posters, 1943 (Over 3,700 results)

Condition: Fine. Artist: Mihail Chemiakin, Russian (1943 - )Title: Strange Dream of Peter the GreatYear: 1986Medium: Pastel on Paper, signedSize: 99 x 64 in. (251.46 x 162.56 cm).

Oil sketch on canvas; stretched onto original wooden frame; size: 240 x 412 mm; framed. In 1737, six tapestries representing the Story of Psyche were commissioned by the king of France, Louis XV, from the royal tapestry manufactory at Beauvais. Finally, five carpets were produced for the series. The production started in 1741. The designs were provided by Francois Boucher. Only six complete sets were ordered during the almost thirty year period of the weavings, although numerous versions of each piece were executed seperately. The present oil sketch is a design for the third tapestry in the series, Les Richesses (Psyche displaying her treasures to her sisters). "Boucher illustrated - for the delight of the court ladies - the pearls and precious stones described by La Fontaine. Formally, however, his composition depends on Natoire's scene of Les Richesses from the Hotel Soubise. Boucher's borrowings from Natoire, more direct here than in any of the other tapestries, are evident in the frieze-like arrangement of figures on the steps of what is apparently the colonnaded entrance hall of Cupid's palace, and in the poses and gestures of several of the figures." (Hiesinger) "Boucher broke with a tradition insistent on rewarding Psyche with heavenly apotheosis and marriage. Boucher instead restricted his five scenes to Psyche's terrestrial, rather than heavenly, adventures." (Hiesinger) An earlier sketch for Les Richesses (formerly in the collection of E. Shapiro, London) shows the tapestry composition in reverse. The present drawing already shows the scene in its final orientation. However, the colors of the garments and curtains differ from those on the tapestries. "Although Boucher's paintings and drawings are well known. his tapestries may be his most impressive memorial. For in this art his spirit is always sympathetically revealed." (Phillips) Since 1736 Boucher designed tapestry cartoons for the Beauvais manufactory and in 1756 became supervisor of the Gobelins manufactory in Paris. In 1765 he was appointed by the mistress of Louis XV, Madame de Pompadour, to became Court Painter to the King. Boucher is considered to be one of the most influential tapestry artists in history, especially with regards to figure tapestries. But his academic training enabled him to master many styles and techniques. He loved to focus on women and mythological themes and his paintings and tapestries being considered quite erotic for those times. Bibliography: Kathryn B. Hiesinger - The sources of Francois Boucher's Psyche Tapestries (in: Philadelphia Museum of Art Bulletin, Vol. 72, No. 314 (Nov 1976), pp. 7-23; John Goldsmith Phillips - A tapestry after Boucher. (in: Metropolitan Museum of Art Bulletin n.s. 1 8Feb. 1943), pp. 204-205 Sprache: Deutsch Gewicht in Gramm: 1550.

Condition: guter Zustand. Farbholzschnitt, 1901, auf cremefarbenem feinem Japan-Bütten, mit Bleistift signiert (nur schwach lesbar) Emil Orlik". Darstellungsgröße 18,5:35,9 cm, Blattgröße 19,3:38 cm. - Mit einigen mit größter Sorgfalt ausgeführten Restaurierungen. Bei diesem unglaublich filigranen Farbholzschnitt handelt es sich um einen der frühen Schnitte Orliks, von denen man weiß, dass sie vom Künstler in Japan in nur wenigen Exemplaren gedruckt wurden! Literatur: M. Schütte, Emil Orlik. Graphik. Bilderhefte der Staatl. Museen Preuß. Kulturbe-sitz Berlin. Berlin, 1983, 107; Emil Orlik. Leben und Werk 1870-1932. Prag-Wien-Berlin. Edi-ted by Eugen Otto. Vienna, Brandstätter 1997, color ill. p. 135; exhibit Catalogue: Wie ein Traum. Emil Orlik in Japan. Edited by Peter Voss-Andreae. Hamburg, 2012, color ill. p. 62, no. 16. Orlik studierte von 1889-1893 in München an der Kunstakademie und an der privaten Malschule von Heinrich Knirr (1862-1944). 1894 kehrte er in seine Heimatstadt Prag zurück und war 1895 Gründungsmitglied des Vereins Deutscher Bildender Künstler in Böhmen. 1896 ging er wieder nach München, zog mit seinem Künstlerfreund Bernhard Pankok (1872-1943) zusammen und setzte sich in dieser Zeit intensiv mit der Technik des Farbholzschnitts auseinander. 1897 erschienen von ihm vier kleine Radierungen im Pan", er schuf einige Plakate und bis 1901 erschienen von ihm immer wieder Arbeiten in der Jugend". Durch seine Freundschaft mit Rainer Maria Rilke wurde er angeregt, sich auch als Buchkünstler zu betätigen. Anfang März 1900 trat er eine Reise nach Japan an, von der er erst ein Jahr später zurückkam. Die dort erhaltenen Eindrücke verarbeitete er in unzähligen Zeichnungen, Radierungen und Farbholzschnitten. 1902 beteiligte er sich an der Beethoven-Ausstellung in der Wiener Sezession. Noch im selben Jahr widmeten ihm die Graphischen Künste" einen Beitrag von Julius Leisching, der auch als Sonderdruck erschien und die berühmte Trilogie Maler-Holzschneider-Drucker" enthielt. Im April 1905 wurde Emil Orlik Nachfolger von Otto Eckmann (1865-1902) am Kunstgewerbemuseum Berlin. Es folgten Jahre der Lehrtätigkeit und Beteiligungen an Ausstellungen z. B. in Berlin und Weltausstellung in Brüssel. 1911 unternahm er eine Reise zu Ferdinand Hodler (1853-1918) nach Genf, den er mehrfach zeichnete. 1912 unternahm er eine zweite Ostasien-Reise, die ihn nach Ägypten, Nubien, Sudan, Ceylon, China, Korea und Japan führte, die Rückreise über Sibirien nach Berlin. 1913 reiste er nach Italien, Dalmatien und nach Paris. Bis zu seinem Tod im September 1932 spielte er im kulturellen Leben Berlins eine bedeutende Rolle und stand mit zahllosen Kulturschaffenden seiner Zeit in Verbindung.

Die Höhe der Figur beträgt incl. des schmalen Bronzesockels 39 cm, die Figur ist auf profiliertem Marmorsockel montiert ( Gesamthöhe der Figur mit dem Marmorsockel ist ca. 43,5 cm ), max. Breite der Figur 20 cm, max. Tiefe 10 cm. Der Marmorsockel mit den Abmessungen 19 x 14 x 4,5 cm ( Länge x Breite x Tiefe ). Die Figur ist am Bronzesockel unterhalb des als *Teppich* ausgearbeiteten Sockels rückwärtig mit *F. Preiss* signiert, undatiert ( ca. um 1920 ). Die nackte Tänzerin ist nur mit Geschmeide im Bereich der Brust *bekleidet* sowie mit einem Perlencollier im Haar, Armreifen sowie Armbändern und Fußbändern. Die Bronze von guter Erhaltung, der profilierte Marmorsockel gering bestoßen. Die Bronze ist etwas schräg auf dem Marmorsockel montiert - offenbar damit die Tänzerin in der Vorderansicht sich geradeaus bewegt - selten - ( Gewicht ca. 5000 Gramm ).( Provenienz: Alter Privatbesitz ) ( Lagerort Gondel hinten, Fenster )( Bitte beachten: Export außerhalb der EU nur auf Anfrage / export outside of the EU only at request )( Weitere Bilder auf Anfrage / further pics at request ).

Condition: sehr guter Zustand. Pastell, auf blauem Bütten, rechts unten signiert und datiert Ackermann 58". 49:31,2 cm. Verso mit eigenhändiger Widmung für Dieter Hoffmann 8. XI. 68 Max Ackermann". Der Maler und Grafiker Max Ackermann zählt sicher zu den bedeutendsten Künstlern der Abstraktion in Deutschland. Zuerst in Weimar 1907/1908 als Schüler H. van de Veldes und parallel als Schüler der Weimarer Malerschule bei H. Olde und L. von Hofmann setzt Ackermann bis 1810 sein Studium in Dresden und München fort, zieht aber enttäuscht vom akademischen Lehrbetrieb 1912 nach Stuttgart, wo er 1913 Meisterschüler Hölzels wird. 1917 wegen längerem Lazarettaufenthalt als kriegsuntauglich entlassen, lebt er weiterhin in Stuttgart. 1936 erhält er Arbeitsverbot und zieht nach Hoornstaad am Bodensee. Im Jahr darauf werden seine Arbeiten als entartet" diffamiert. 1943 wird sein Atelier und damit ein Teil seiner Arbeiten bei einem Bombenangriff zerstört. 1957 wird ihm der Professorentitel h.c. verliehen; im gleichen Jahr Rückkehr nach Stuttgart.

Condition: guter Zustand. Farbradierung, Roulette und Aquatinta, 1901, auf cremefarbenem Japan, mit Bleistift signiert. 19,5:13,3 cm. - Mit ca. 1,5/2 cm breitem Rand um die Plattenkante, dieser etwas unregelmäßig geschnitten. Literatur: Kat. Galerie Glöckner. Köln 2007/2008, Nr. 82.- Vorzüglicher Abdruck, mit leichtem Wischton! - Die in mehreren Farben gedruckten Exemplare dieser Radierung sind selten! Orlik studierte von 1889-1893 in München an der Kunstakademie und an der privaten Mal-schule von Heinrich Knirr (1862-1944). 1894 kehrte er in seine Heimatstadt Prag zurück und war 1895 Gründungsmitglied des Vereins Deutscher Bildender Künstler in Böhmen. 1896 ging er wieder nach München, zog mit seinem Künstlerfreund Bernhard Pankok (1872-1943) zusammen und setzte sich in dieser Zeit intensiv mit der Technik des Farbholzschnitts ausei-nander. 1897 erschienen von ihm vier kleine Radierungen im Pan", er schuf einige Plakate und bis 1901 erschienen von ihm immer wieder Arbeiten in der Jugend". Durch seine Freundschaft mit Rainer Maria Rilke wurde er angeregt, sich auch als Buchkünstler zu betäti-gen. Anfang März 1900 trat er eine Reise nach Japan an, von der er erst ein Jahr später zu-rückkam. Die dort erhaltenen Eindrücke verarbeitete er in unzähligen Zeichnungen, Radierun-gen und Farbholzschnitten. 1902 beteiligte er sich an der Beethoven-Ausstellung in der Wie-ner Sezession. Noch im selben Jahr widmeten ihm die Graphischen Künste" einen Beitrag von Julius Leisching, der auch als Sonderdruck erschien und die berühmte Trilogie Maler-Holzschneider-Drucker" enthielt. Im April 1905 wurde Emil Orlik Nachfolger von Otto Eck-mann (1865-1902) am Kunstgewerbemuseum Berlin. Es folgten Jahre der Lehrtätigkeit und Beteiligungen an Ausstellungen z. B. in Berlin und Weltausstellung in Brüssel. 1911 unter-nahm er eine Reise zu Ferdinand Hodler (1853-1918) nach Genf, den er mehrfach zeichnete. 1912 unternahm er eine zweite Ostasien-Reise, die ihn nach Ägypten, Nubien, Sudan, Ceylon, China, Korea und Japan führte, die Rückreise über Sibirien nach Berlin. 1913 reiste er nach Italien, Dalmatien und nach Paris. Bis zu seinem Tod im September 1932 spielte er im kultu-rellen Leben Berlins eine bedeutende Rolle und stand mit zahllosen Kulturschaffenden seiner Zeit in Verbindung.

The archive comprises: 1. Sara Eugenia Blake: an etched bookplate (Peake 3869: 'Juvenilia | H.B. Muir'). One signed copy, with the original zinc plate. 2. Sara Eugenia Blake: an etched bookplate depicting a Persian or Mughal figure (Peake 3870: 'Indian Man'). Six signed proof copies printed in different coloured inks (one extensively hand-coloured), with the original zinc plate. 3. Tom R. Bond: a process bookplate (Peake 3871: 'Mask', incorrectly dated 1937). One proof copy signed and dated (1933) by the artist and numbered 10/10, plus ten further proof prints (on different paper stocks, some untrimmed). With the original India ink drawing and process block. 4. Adrian Feint: a process bookplate (Peake 3872: 'Desk, open window, river', 1936). One copy signed by the artist, and another on Japanese paper (likely a proof). With the original ink drawing and process block. 5. John Barclay Godson: an etched bookplate depicting the devil (Peake 3873: 'Devil's face', 1934). One signed remarque proof, with a preliminary pencil drawing and the original copper plate. With a list in Harry Muir's hand regarding distribution of copies of the bookplate. 6. John Goodchild: a process bookplate depicting a ship at sea (Peake 3874: 'Galleon and seagull', 1932). Four copies, two identified as proofs by Harry Muir on the reverse ('Delmonts proof of bookplate. 1st Sept 1932', and 'Hassells proof of bookplate from Delmonts zinc block'). With a preliminary pencil drawing (signed by Harry Muir, identifying the artist), the final large ink drawing (146 × 102 mm, with a pencil note to 'Reduce ¼ size'), and the original process block. 7. John Goodchild: a process bookplate depicting a one-legged pedlar selling prints (Peake 3875: 'Autolycus selling from tray', 1932). With the original process block. 8. John Goodchild: a three-colour linocut and process bookplate (Peake 3877: 'Glass enlarging galleon plate', 1943). One copy with the three original blocks (two linoleum and one process block). 9. Peter Hosokawa: a bookplate featuring two whales (Peake 3878: 'Two whales', 1980). Number 31 of 100 signed copies; printed on blue paper. 10. Jane Hylton: a process bookplate depicting poppy kernels (Peake 3879: 'Poppy kernels'). With the original process block (heavily tarnished). 11. George David Perrottet: a three-colour linocut bookplate depicting a ship under a crescent moon (Peake 3882: 'Sailing ship against crescent moon', 1933). Two copies, one untrimmed and signed by the artist. With all three original linoleum blocks, plus three process blocks (heavily oxidised), possibly prepared for Muir's 1942 publication on Perrottet's bookplates. 12. George David Perrottet: a hand-coloured two-colour linocut bookplate for Muir's books by and on John Galsworthy (Peake 3880: 'Monkey with orange', 1936). With both original linoleum blocks. 13. George David Perrottet: a two-colour linocut bookplate featuring the exterior of Muir's bookshop (Peake 3881: 'H B Muir bookshop', 1939). One signed proof copy on fine paper, plus a copy of the standard version. 14. Derek Riley: a woodcut bookplate featuring bookstalls (Peake 3883: 'Bookstalls with church tower behind'). One signed proof copy (inscribed by the artist 'Opus 22', dated 1980). With the original woodblock. 15. Derek Riley: a woodcut bookplate featuring a tiki (Peake 3884: 'New Zealand tiki'). Signed proof copy (inscribed by the artist 'Opus 35', dated 1981; mounted in a card bifolium, also signed and dated), and a copy of the standard version. With the original woodblock. 16. Leslie Victor Smith: an etched bookplate showing maps of Canada and Australia (Peake 3885: 'Tree embracing maps of Canada & Australia', 1943). One copy, signed by the artist. With the original copper plate, and an autograph letter (1943, with the original envelope) to Muir from this Canadian artist, primarily regarding the bookplate (it appears he produced it as a gift, without Muir's knowledge, and sent him twelve signed proof copies). 17. Eric Thake: a process bookplate for Muir's collection of books on Bligh and the 'Bounty' (Peake 3886: 'Three figures from "Bounty" mutiny', giving the date 1947). With two ink drawings (a preliminary version and the final version dated '1945-1948'), and the original process block. 18. Eric Thake: a process bookplate featuring a chained Pegasus (Peake 3887: 'Pegasus', 1933). Number 9 of 15 proof copies signed by the artist, plus two further copies (one signed). With the original ink drawing and two lists in Muir's hand regarding distribution of the proof copies. 19. Noel Wood: a linocut bookplate (Peake 3888: 'Eagle on rock', 1932). One untrimmed remarque proof (number 5 of six copies, almost certainly printed by the artist), two copies of a more crisply-printed version (possibly process; one with Muir's annotation on the verso stating that it is a 'Hassell's print'). With a preliminary ink drawing (mistakenly giving Muir's middle initial as M, not B). 20. John Goodchild: an offset-printed bookplate for Muir's holiday house Petrel Cottage at Encounter Bay, Victor Harbor (Peake 3876: 'Seagulls', 1938). 21. George David Perrottet (possibly): two linoleum blocks for a second bookplate for Petrel Cottage (a two-colour linocut, very much in the style of Perrottet). This bookplate was apparently never published. Provenance: H.B. (Harry) Muir (1909-1992), bookseller, publisher and bookplate collector; by descent. [A quantity].

No binding. Condition: Very Good. Vintage original 41 x 27" (103 x 67 cm.) one sheet poster, USA. James Ellison, Frances Dee, Tom Conway, Edith Barrett, James Bell, dir: Jacques Tourneur; RKO. The story (based on Charlotte Bronte's Jane Eyre) of a nurse who ventures to the West Indies to care for the wife of a plantation manager. She falls in love with him and seeks to cure the wife of her mental paralysis by involving herself in a native voodoo ceremony. A brilliant and atmospheric tale produced by master Val Lewton, the horror suggested by the use of lighting, shadows and camera work. The images on this poster are scary and the graphics bold, reflecting the feel of this suspenseful classic. This fine copy has been preserved on linen. There has been touch-up to the folds, with some extra touch-up in the "H" of "WITH" and the "O" of "ZOMBIE". There has also been some touch-up and repair to the blank white margins and at corners, and there were a few tiny bits of missing paper along the top edge, NEAR FINE.

Condition: sehr guter Zustand. Tuschfeder und -pinsel in Schwarz, rot aquarelliert, über Bleistift, auf cremefarbenem festem Zeichenpapier, links unten monogrammiert und datiert peag berlin 30", auf Untersatzkarton montiert, dort links unten betitelt, bezeichnet und datiert Café Lunte" / Orig. Zchg / Berlin 1930", rechts unten signiert Peter-Anton Gekle.". 59,7:46,4 cm.- Die auf der Zeichnung gezeigten zahlreichen Besucher des kleinen Cafés Die Lunte" sind karikierend dargestellt, an der Wand der dadaistische Spruch Anti chianti Chianti - Christ". Vermutlich handelt es sich um die Vorzeichnung für eine Illustration in der satirischen Zeitschrift Die Jugend".- Schon Anfang des 20. Jahrhunderts war die Eislebener Straße in Berlin-Charlottenburg eine gutbürgerliche Adresse. Wie viele andere der umliegenden Straßen war auch die Eislebener Straße in den 1920er und frühen 1930er Jahren geprägt von der künstlerischen Bohème. In einem ehemaligen Zigarrenladen in der Eislebener Straße 11 residierte das kleine Café Die Lunte". Man nannte sie wohl die verruchteste, billigste der Künstlerkneipen", der renommierte Fotograf Umbo fotografierte hier. Über den Zeichner ist bislang nicht viel mehr bekannt, als dass er als Karikaturist und Graphiker tätig war und Reisen in mehrere europäische Länder unternahm.- Literatur: Max Körner in: Gebrauchsgraphik. Bd. 20, 1943/44, 6, Ss. 312-34; Goldstein, S. 594.

Soft cover. Condition: Very Good. No Jacket. This is a large format, approximately 20 inches high by 14 inches high, publication. the title is in black and pumpkin color ink and there is text by George William Eggers on one side of the folded sheet of paper. Opposite the text is a fold that has a "window" cut out to show the image of Cordova Plaza, which is affixed to the inside of the last page of the publication, by Gustave Baumann. The tissue guard is present. This publication for the Woodcut Society was limited to two hundred and copies exclusively for members of the Woodcut Society. Torch press of Cedar Rapids, Iowa produced this item. There is a sticker below the image also affixed to the last page which indicates this was item #1 of the auction of the Arms Catalogue ( believed to be John Taylor Arms). There are two small indentations to the rear cover, not affecting the printed contained in this publication, The paper on which the image is printed is about 14 inches by 14 inches, and the image is 1bout 7 by 7 1/2 inches. The print appears to be signed and titled by the artist below the image in pencil. Signed by Illustrator(s).

No Binding. Condition: Near Fine. Limited Edition. One of 200 copies, titled and signed by the artist in pencil. Woodcut in colors printed on wove paper, measuring 13¼ x 11½ in. (336 x 294 mm.). One corner nicked from prior mounting. Excellent impression. Signed by Illustrator(s).

No Binding. Condition: Very Good. Art Sz: 12"H x 18"W Frame Sz: 16"H x 22 1/2"W Inscribed LL: The Freshest thing to win a National in years- and he broke the record at that. Golden Miller wins in 9:20 2/5 1934 Golden Miller (1927 1957) was a Thoroughbred racehorse who is the most successful Cheltenham Gold Cup horse ever, winning the race in five consecutive years between 1932 and 1936. He also is the only horse to win both of the United Kingdom's premier steeplechase races - the Cheltenham Gold Cup and the Grand National - in the same year (1934). Golden Miller was trained by Basil Briscoe in Longstowe, Cambridgeshire and owned by Dorothy Paget, who was the British flat racing Champion Owner in 1943, and the leading National Hunt owner in 1933-34, 1940 41 and 1951-52. In 1931, Golden Miller made his steeplechasing debut at Newbury Racecourse where he finished first, only to be disqualified for carrying incorrect weight. On 30 December, he won the Reading Chase before winning the Sefton Steeplechase on 20 January 1932. In 1933, as a six-year-old and winner of two Cheltenham Gold Cups, he started as the 9/1 favourite in the Grand National but fell at the Canal Turn. In the 1934 Grand National win, he set a new course record of 9 min 20.4s for Aintree. This victory was the middle of five consecutive Gold Cup victories, a Gold Cup record. He retired in 1939 with a record of 29 wins from 52 races. He is buried at Elsenham Stud, a working farm in Elsenham, West Essex. Inscribed by Illustrator(s).

[African American MILITARY--WORLD WAR TWO.] Eight portraits and drawings by a talented African American artist in the Navy Charles "Chewy" Myers. Various sizes 12" x 9" to 14" x 11". Various places, 1943-1966. Charles Thomas "Chewy" Myers (1923-2001) was born and raised in Gettysburg, PA, and served in the Navy during World War Two. After the war, he lived in Baltimore, where he was a railroad employee and then a graphic artist for the United States Post Office. He was a prolific amateur photographer and portrait artist. Offered here are 8 of his works, including one 14 x 11-inch oil portrait of a black Army Air Service soldier, possibly a Tuskegee a pilot, done while he was in the Navy in 1944. The other portraits are of women, with two being of the same woman, and are done in watercolor or pen and ink. One of the pen and ink portraits depicts a woman with flowers in her hair, resembling Billie Holiday. Myers shared his artistic talents with his community, being involved in art shows throughout the Baltimore area after his retirement. Myers subjects appear to have a range of expressions, from pensive to jovial. The black soldier oil portrait appears to be in the Air Force based on the style of his cap. Some wear and chipping to edges of paintings and drawings. Overall very good condition.

Medium: Watercolor A vintage 1946 watercolor painting on paper by American artist Isaac Lane Muse (1906 - 1996) measuring approximately 13 1/4 x 16 inches behind glass in a frame measuring approximately 20 x 22 1/2 inches. He was a teacher and lover of Abstract Expressionist Grace Hartigan moving with her to Manhattan in 1945. They split up around 1947 supposedly due to his jealousy her work was receiving. Brilliant colors with crimping upper left corner as pictured unexamined outside of frame. Thanks for Looking. Muse was part of the Abstract Expressionist period that was prominent in Western art from the late 1940's through the 1950's. Muse took up art after he left military service as a young man. He taught art in Newark, New Jersey, and his most famous pupil was the painter, Grace Hartigan. He was a teacher and lover of Abstract Expressionist Grace Hartigan moving with her to Manhattan in 1945 and they split up around 1947 due to his jealousy her work was receiving. Most of Muse's later works are in gouache on paper and abstract and this mid-career painting is representative of his earlier modernist style. He was married to the artist and sculptor, Siv Holme, who was Swedish by birth. Muse and Holme immigrated to France after WWII and lived most of the time in the village of Tillard in the Oise region of France. They had two children, also artists, Marya and Bjarne. Holme did many commissioned pieces for the Monnaie de Paris. The Museum of Modern Art and Minneapolis Museum of Art each curate one of his works. Those and is one of the few paintings by Muse that are avaible to be studied. A fire destroyed his studio in the 1970's, which contained works from the 1950's, 60's and 70's. Birth place:?ÿMaysville, KY Addresses:?ÿNewark, NJ, until mid-1940s NYC, from mid-1940s on Profession:?ÿPainter, lecturer, screenprinter, teacher, writer Studied:?ÿElmer Taflinger Fritz Schlemmer R. Selfridge NAD. Exhibited:?ÿIndiana State Fair, 1932 (prize), 1933 (prize) S. Indp. A., 1942-44 Elisabeth Ney Mus., 1943 (prize) San Diego FA Soc., 1941 AIC, 1941 Denver Art Mus., 1943 Albany Inst. Hist. &amp Art, 1945 Artists of Today, 1941-45 Art Gal., NY, 1943 Fitchburg AC, 1941 Nat. Serigraph Soc. Gal., 1947 (solo) WMAA, 1947-48 Mortimer Levitt Gal., NY (solo) Bertha Schaefer Gal., 1951. Member:?ÿArtists of Today Audubon Artists Nat. Serigraph Soc. NewJersey AA Work:?ÿMoMA WMAA Columbia Univ. Montclair Mus. Newark Mus. Albright Art Gal. SFMA State Mus., Iowa Denver Art Mus. Fitchburg AC Comments:?ÿIllustr.:?ÿMr. Brown and the Bear,?ÿby Osmond Beckwith, 1948. Teaching: Columbia Univ. (summer). He gave private instruction to Grace Hartigan (see entry) for four years in the 1940s. Sources:?ÿWW53 WW47 add'l info. courtesy of Charles Semowich, Rensselaer, NY Rubinstein,?ÿAmerican Women Artists,?ÿ279. Minneapolis Museum of Art, art price, the art story ?ÿ Region of Origin: US.

Das großformatige Stilleben im Kubistischen Stil misst ca. 63 x 121 cm. Öl auf Platte, rechts unten mit *Erikz `43* signiert und datiert, ungerahmt. Das Gemälde ist etwas berieben, an den Außenrändern teils etwas stärker berieben ( durch unpassende alte Rahmung ), insgesamt aber von guter und farbfrischer Erhaltung. ( Provenienz: Alter Privatbesitz ). Eine Expertise zu dem Bild liegt mir nicht vor. ( Lagerort Rich, SZ, Schrank rechts ) ( Leider liegen mir keine näheren Infos zum Künstler vor, über Hinweise hierzu würde ich mich freuen )( Bitte beachten: Hier aufgrund der Größe leider kein Versand möglich. Hier bitte nur Selbstabholung oder Abstransport nach Absprache, dabei bitte die großen Maße beachten /// please notice. Sorry, no shipment possible )( Weitere Pics auf Anfrage - further images at request ).

Kein Einband. Condition: Gut bis sehr gut. Maurice Denis, Granville 1870-1943 Saint-Germain-en-Laye, Farblithografie auf Chinapapier, rechts unten mit Bleistift handsigniert, Größe: 56 x 44 cm, Rahmen: 77 x 67 cm, Werkverzeichnis Caill 121, Die Farblithografie erschien in der Mappe "Germinal" in einer Auflage von ursprünglich 100 Exemplaren, herausgegeben von "La Maison moderne" in Paris, zusammengestellt von Julius Meier-Graefe. Mit dem Titel "Germinal" sollte angedeutet werden, dass in der Mappe die Keime vereinigt sind, die die Kunst im bevorstehenden 20. Jahrhundert nachhaltig beinflußen sollten. Signatur des Verfassers.

Original Ink Drawing on laid paper. Framed measurements: 74,5 cm wide x 86,5 cm high. Artwork (sheet): 62 cm wide x 76 cm high. Signed and dated. Beautifully framed. [Includes 13,5% VAT (570,93 ) Net 4229,07 ] One of the most dramatic examples of Jim Wilson's ability to create awe and disbelief with thousands of dots. The spiel of cotton-fluff, created by fading dots and the masterful leaving of empty space, makes this, in our opinion, one of the most desirable pieces of this artist.

Original Ink Drawing on laid paper. Framed measurements: 66 cm wide x 66 cm high. Artwork (sheet): c. 52 cm wide x c. 52 cm high. Signed and dated. Beautifully framed. [Includes 13,5% VAT (570,93 ) Net 4229,07 ].

Original Ink Drawing on laid paper. Framed measurements: 71 cm wide x 65,5 cm high. Artwork (sheet): 56 cm wide x 56 cm high. Signed and dated. Beautifully framed. [Includes 13,5% VAT (570,93 ) Net 4229,07 ] Jim Wilson's art at its best: playful ornament, labyrinths of decorative patterns, floral elements and patient endurance which lets us marvel at the result ! Did you find the Blackbird ? And the Rabbit ?.

42 x 66,5 cm ** Photos auf Wunsch im JPG-Format erhältlich.**.

70 x 100 cm ** Photos auf Wunsch im JPG-Format erhältlich.**.

Kein Einband. Condition: Sehr gut. Karl Hofer (1878 1955) Junge Frau mit Kopftuch 1943/44 Bleistift/Papier, H: 43,5 x B: 35,7 cm. Monogrammiert mittig: CH (ligiert) Provenienz: Privatsammlung USA. Das Blatt wird in das in Vorbereitung befindliche Werkverzeichnis der Papierarbeiten aufgenommen. Es wird im Karl Hofer Archiv derzeit unter der Nummer NP22 geführt. Die Zeichnung ist eine Studie zum gleichnamigen Ölgemälde von 1943. Signatur des Verfassers.

An unpublished hand written story in three drafts, two on A4 lined paper [8] and [10] pp and one on [8]pp foolscap, each set tied with red wool, concerning the adventures of 3 Pekingese dogs accompanied by 18 original pen, ink and watercolour illustrations 26.7 x 16.5 cm in mounts measuring 42 x33 cm. Cam [1913-1984] wrote her first book Barbara Lamb in 1943 whilst in the Land Army and John Lane commissioned her to write six more; The Buttercup Fairy [1945], Margaret Fieldmouse [1946], Timothy Tabbycat [1947], Belinda Bear [1948], Bill Frog [1950], Bill Frog to the Rescue [1952]. Collins Then published 'Three Jolly Fishermen [1952], Three Jolly Clowns[1952] and Three Jolly Mountaineers. The story has various corrections in the author's hand, whilst a couple of the pages are dog eared and the wool has pulled through the holes punched on some pages. The illustrations are finely finished and in beautiful condition. A lovely item. Rainford & Parris Books welcomes enquiries, so please do not hesitate to ask if you require further images or have any questions. All books are packaged with great care.

ETERNEL RETOUR, L¥ - 1943Dir JEAN DELANNOYCast: MADELEINE SOLOGNEJEAN MARAISJEAN MURATFRANCIA - -120X160-Cm.-47X63-INCHES- ON LINENPOSTERMost are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING Most are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING. 60347.

Paper, stone lithography. Size: Pre-war 1 Sheet (cca. 63 x 95 cm). Transylvania Lottery Loan A lucky way to place your money On this beautiful late Art Deco poster by Mallasz there is a representation of the Goddess Fortuna spreading money Beneath her we see a charming landscape resembling Transylvania This piece is a unique poster by Gitta Mall sz which was created in the short period when territories of Transylvania were given back to Hungary 1940 1944 The Transylvanian lottery loan was widely advertised by Gitta Mall sz s poster It even had a smaller version which was published in newspapers After introducing the loan to the market it proved to be a tremendous success for months endless lines queued up in front of the banks The success most probably was not caused by the poster of the loan but by the exaggerated mood thanks to the accomplishments of the revisions Gitta Mall sz was a world famous artist mostly due to her book Talking with Angels The book consists of a conversation of four people and an angel Hanna Dallos a graphic artist colleague of Gitta Mallasz talks in the name of the angel The book is based on a true story which took place in 1943 44 which was lived through by a group of young Jewish people first in a house on the country side then in a fake defence plant created to rescue Jews In this group Gitta Mall sz was the only not Jewish hence the only survivor later The lottery loan s poster was made in 1941 and it strongly and intentionally resembles the archaic style it looks like a woodcut Besides the iconography recalls allegories from the 19th century an angel appears in the air and she holds a horn of plenty from which symbols of wealth are falling down On the bottom of the poster mountains pine trees and rocks are visible but the strongest reference to Transylvania is the picture of a temple with a wooden steeple The steeple temple of K r sf similar to the one on the poster became a popular motif in Hungarian art in the beginning of the 20th century thus becoming a symbol of Transylvania see for example the Transylvania poster of Gy rgy Konecsni Gitta Mall sz lived up to the taste of the public of the 1940s with her archaic like style and gave the solemnity deserved by the genuine topic Contemporary photo by Tivadar Lissak Source http fortepan hu Fine, small tears along the borders, and some paper loss in one corner.

No Binding. Condition: Very Good. anthony gross (illustrator). 1st Edition. Anthony Gross watercolour signed and dated 1942. Painted on wove paper, the paper has slightly ruckled and discoloured with age. On the verso there are remnants of glue residue along the margins, else very good. Sheet size 39 x 56cm (15.25 x 22.25 inches) Text Reads: Council Chamber of Village Headsmen.' The Chins are essentially hunters and in the Headsman House, the council chamber is decorated with hundreds of skulls of the various animals they have killed. All the decisions of the village elders and chiefs of families assemble here. They are drinking Zu, a beverage made out millet sucked through bamboo sticks. In 1943, Gross was sent to India and then on to Burma, travelling up river by sampan to the British front lines in the Arakan region and producing his Battle of Arakan series. He depicted several scenes of British and Indian troops close to Japanese positions at Dombaik and personally experienced air attack by a Japanese fighter. After painting local tribesmen in the Chin Hills for a Chins at War series, Gross was recalled to Tunis and then back to Europe. On his arrival in London he held a one man show at the National Gallery entitled: India in Action. Signed by Author(s).

Höhe der Figur 29 cm, Länge 17 cm, auf schmalem schwarzen Marmorsockel montiert ( Maße des Sockels 24 x 8 x 3 cm ( Länge x Breite x Höhe )). Gezeigt wird die mit einem Bronzeschwert gegürtete Diana die den Bogen spannt. Gesamthöhe der Figur incl. Sockel 32,5 cm. Die Figur auf der Plinthe mit *Preiss* signiert, undatiert. Der Gießerstempel *PK* ( für Preiss & Kassler ) findet sich auf dem schmalen Bronzesockel der Plinthe. Die Figur leider beschädigt: An der linken Hand der Figur fehlen die Finger. Diese Hand, wie auch die rechte Brust und die rechte Hand durch Klebereste stärker verschmutzt. Der Bronzebogen lmit dem Pfeil iegt lose bei weil er an der linken Führungshand der Figur mangels der Finger nicht fixiert werden kann. Desgleichen alte Kleberreste auf der rechten Brust und an der rechten Hand ( diese Hand ist aber mit den Fingern intakt wenn auch durch Klebereste verschmutzt ). Der Oberkörper der Figur etwas angeschmutzt. Trotz der möglicherweise durch restaurative Maßnahmen behebbaren Mängel eine immer noch imposante Art-Deco-Figur. ( Gewicht ca. 3000 Gramm ) ( PS: Die Monographie von Alberto Shayo *Ferdinand Preiss: An Art Deco Sculptur - the fire and the frame* erschienen im Antique Collectors Club ist beiliegend ) ( Pic erhältlich // webimage available // Please notice: The figure is in a poor condition - the fingers of the left hand are missing, it`s sticky at the hands and breast, the archer is not fixed yet - the figure should be restored ) ( Provenienz: Alter Privatbesitz ) ( Lagerort Gondel 4 )( Bitte beachten: Export außerhalb der EU nur auf Anfrage / export outside of the EU only at request )( Weitere Bilder auf Anfrage / further pics at request ).

MARIA CANDELARIA - 1943Dir EMILIO FERNANDEZCast: DOLORES DEL RIOPEDRO ARMENDARIZALBERTO GALANMARGARITA CORTESMIGUEL INCLANFRANCIA - 160x240-CM.-63x94-IN.POSTERMost are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING Most are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING. 60347.

AMANTI PERDUTI - 1943Dir MARCEL CARNECast: ARLETTYJEAN LOUIS BARRAULTPIERRE BRASSEURMARIA CASARESMARCEL HERRANDLOUIS SALOUITALIA - -100X140-Cm.-40X55-INCHES-2 SH.POSTERMost are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING Most are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING. 60347.

FANTOME DE L¥OPERA, LE - 1943Dir ARTHUR LUBINCast: NELSON EDDYSUSANNA FOSTERCLAUDE RAINSEDGAR BARRIERFRANCIA - -120X160-Cm.-47X63-INCHESPOSTERMost are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING Most are in excellent condition but may have normal wear such as edge wear or a slight hole. I try photograph any flaw but examining the photos closely is your best bet!Please see bigger picture for detailsLa mayorÌa est n en excelentes condiciones, pero puede tener desgaste del borde o algun agujero pequeÒo. Intento fotografiar cualquier defecto, pero el examen de las fotos de cerca es su mejor opciÛn!Por favor ver la foto en grande para m s detallesSHIPPING COSTS:Fold posters SPAIN 5Ä = $7- -Correo certificado EUROPE 15Ä = $20WORLDWIDE 20Ä = $25 posters on linensmall format $60big format $90All POSTERS GOES BY FEDEX.ITEMS PURCHASED CAN BE COMBINED TO SAVE ON SHIPPING. 60347.