American Painter Printmaker (8 results)

Condition: Fine. First edition hard back binding in publisher's original raspberry cloth covers, gilt lettering to the spine. Quarto 10½'' x 10¼'' ISBN 1566403200. 19 page introduction with monochrome illustrations followed by full-page single-sided colour plates. Fine condition book in Fine condition dust wrapper. Member of the P.B.F.A. ISBN 1566403200 ART [American].

Condition: Fine. First edition hard back binding in publisher's original raspberry cloth covers, gilt lettering to the spine. Quarto 10½'' x 10¼'' ISBN 1566403200. 19 page introduction with monochrome illustrations followed by full-page single-sided colour plates. Fine condition book in Fine condition dust wrapper, as new. Member of the P.B.F.A. ISBN 1566403200 ART [American].

Condition: Very good. - Three autograph letters penned on 11 inch high by 8-1/2 inch wide creamy white paper. The letters, two of which were addressed to Fridolf Johnson and the third to American Artist Magazine editor Norman Kent, regard the periodical's review of the "Animals in Art" exhibition held at the Storm King Art Center in Mountainville, New York. The letters are as follows:1. A one page autograph letter signed by Harry Wickey, as curator of the exhibition, penned on Storm King Art Center stationery. In his letter dated July 21, 1964, Wickey writes to Fridolf Johnson, then executive director of American Artist that "Twenty Six photographs of the items you are interested in including in the American Artist's review of the Storm King Art Center's Animals in Art Exhibition were mailed to you today." Wickey had hoped to mail these sooner but "ran into difficulties owing to the fact that the photos of Durers Rhinoceros and Tarts Cattle in a Stable had been mislaid." Signed in full "Harry Wickey" as curator.2. A one-and-a-half page autograph letter signed by Wickey penned on 11 inch high by 8-1/2 inch wide creamy white paper. In his letter addressed to Fridolf Johnson on September 3, 1964, Wicky explains that he is sending a "list of items with the sizes of the originals". He explains that he "has photos on hand" off all the items except "Russells Grey Eagle", and expresses his thanks to Fridolf Johnson & Norman Kent for their forthcoming review. Signed in full by Harry Wickey.3. A one-page autograph letter signed by Harry Wickey on 11 inch high by 8-1/2 inch wide creamy white paper. In his May 25, 1965 letter addressed to American Artist editor Norman Kent, Wickey expresses his gratitude for the review in capital letters: "First of all - our thanks to you for the wonderful review you gave our 'Animals in Art Exhibition' in 'The American Artist', Summer Edition." He goes on to express his hope that Norman Kent will come to view the forthcoming George Grosz exhibition as well as that on contemporary Japanese prints which John Heliker is curating. Signed "Harry Wickey". Apparently planning to publish the earlier portion of the letter, Norman Kent has crossed out the second paragraph with red graphite, making a correction to the first paragraph, also in red graphite, and he has penned in Harry Wickey's name and credentials in red.All are in very good condition. The "Animals in Art" exhibition at Storm King Art Center took place from July 5th through August 30th, 1964.The American painter, illustrator and printmaker Harry Wickey (1892-1968) was best known as an etcher. After his vision became impaired by etching acids, he turned to sculpture in 1938. His work has been exhibited at the Art Institute of Chicago, the Guggenheim Museum, and the Whitney Museum of American Art in addition to several other significant museums. In the 1960s he worked as a curator at the Storm King Art Center.An illustrator and artist as well as a fine pressman Fridolf Johnson was an editor of American Artist Magazine until his retirement in the 1970's. As a graphic artist, he designed title panels for Hollywood movies and art & typography for advertising as well as dust jacket illustrations. He wrote and illustrated his own children's books in addition to other works. He also compiled and edited the Knopf book "Rockwell Kent: An Anthology of His Work".

Original brochure. Small-4to. 59 pp. Deluxe limited editition (no. 77 of 100 copies) of the catalogue on the occasion of his exhibition at the Galerie im Erker in St. Gallen, Switzerland from June 12 - August 28, 1971. Original soft cover, fine. - With an original lithograph signed by Motherwell in initials and numbered 77/100. The catalogue is also signed at the end and numbered 77/100". Robert Motherwell (19151991) was an American abstract expressionist painter, printmaker, and editor of The Dada Painters and Poets: an Anthology. He was one of the youngest of the New York School, which also included Willem de Kooning, Jackson Pollock, and Mark Rothko.Trained in philosophy, Motherwell then became an artist regarded as among the most articulate spokesmen and the founders of the abstract expressionist painters.[2] He was known for his series of abstract paintings and prints which touched on political, philosophical and literary themes, such as the Elegies to the Spanish Republic.

THE THREEPENNY OPERA by Bertold Brecht, in the english version by Desmond Vesey with the english lyrics and a new introduction by Eric Bentley, Illustrations and an Original Lithograph by Jack Levine. The Limited Editions Club, New York, 1. Auflage 1982, ERSTAUSGABE, 157 SS. gebunden (Hardcover, schwarzes Oln. mit Golddruck gr. 4°), im Original Leder-Pappschuber, gut erhalten - VORZUGSAUSGABE, signed and numbered first edition, signierte, nummerierte Ausgabe # 1733, in Tinte von Autor Jack Levine und Künstler Eric Bentley eigenhändig signiert.

Pas de couverture. Condition: Assez bon. Rare - Authentic back signed photo postcard. Size : 11x15 cm Condition : please see scans. Provenance : Gérard Leman collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

4to. 2 pp. Age toning. A highly important autograph letter illustrated with two original collages, in which Dorothea Tanning recounts her visit to New York for an exhibition of her paintings and discusses her life in Arizona with Max Ernst: [] Now we are back in Arizona and very happy to resume our tranquil sunny life once more. Max has a separate studio where he goes every day (just a few steps) to perform his special kind of alchemies in paint. I am in my own studio,hesitating a little before I commence to paint again. There are so many painters! and in this country there is another whelming vogue for abstract painting - abstractivism à l'américain, Max calls it. []".

Postcard ("Carte Postale"), 14 x 9cm, shade of green, somewhat grubby and crumpled, smudged. See Images. Text: " I sent you a letter some weeks ago - making a proposal with reference to a distinguished Sculptor here [Auguste Rodin perhaps]. Did my letter reach you? !! I regret that I shall not be able to be present at the meeting of 7th - I also wrote as you requested to Gilbert, R.A. | Very faitfully yours | J McN. Whistler". The card is addressed to "Monsieur Francis Howard, The Exhibition of International Art, Prince's Skating [Club?] Knitsbridge [sic] S.W. London || Angleterre." See Images. Notes: A. Second Exhibition of The International Society of Sculptors, Painters and Gravers (London), 1899May 1899 - July 1899. Whistler helped found this Society in 1898. Rodin succeeded him as President.; B. Francis Howard was an "American artist and arts administrator educated in England and Europe. One of the founders of the International Society of Sculptors, Painters and Gravers (1897). In 1900 he acted as the representative for a group of American artists resident in Europe, who felt the need for an American national gallery and he travelled to America to gather funding and support for the project. In 1901, Howard organised the art section of the Woman's Exhibition at Earl's Court and in 1907 he was Chairman and Special Commissioner of the British Art and Antiquarian Committee, for the Jamestown Exposition. In 1909, he organised an Exhibition of Chosen Pictures at the Grafton Galleries, and his first National Loan Exhibition as its Director. He continued to do the Loan exhibitions in 1913-14 and 1914-15. He founded and managed the second Grosvenor Gallery in London in 1912." [R.A.].