Gropper by Gropper William, Signed (10 results)

Soft cover. Condition: Near Fine. 1st Edition. Large Format Soft Cover Catalog 10 1/4" X 8". Near Fine. Inscribed To Social Artist Wiliam Gropper And His Spouse: "To Bill & Sophie With Great Admiration For His Work And Thankful That You Are A Member Of The Aca Group. Herman. With All My Love To Sophie & Boill. Ella." Also, "To My Friend Bill Gropper- Nicolai Cikovsky 1959". Herman Baron Was The Founder Of The Aca Galleries (Also Known As American Contemporary Art And A.C.A. Gallery) In 1932 And Served As Its Director Until His Death In 1961. Inscribed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 128 Pp. Grey Cloth Lettered In Black. First Printing. Fine In Fine Dust Jacket. Warmly Inscribed By The Artist To Social Artist William Gropper: "For Bill Gropper, With Love And Best Wishes And The Hope That We Will One Day Meet Again- Noel- March 1975". Noel Counihan (1913 -1986) Was An Australian Social Realist Painter, Printmaker, Cartoonist And Illustrator Active In The 1940S And 1950S In Melbourne. An Atheist, Communist, And Art Activist, Counihan Made Art In Response To The Politics And Social Hardships Of His Times. He Is Regarded As One Of Australia's Major Artists Of The 20Th Century. Counihan Was Born On 4 October 1913 In Albert Park, Then A Working-Class Suburb Of Melbourne. He Attended The St Paul's Cathedral, Melbourne Choir School (Closed In 1929), Then Caulfield Grammar School In 1928. He Studied Part-Time Under Charles Wheeler At The National Gallery Of Victoria Art School In Melbourne During 1930-31, Where He Met The Social Realists Herbert Mcclintock And Roy Dalgarno. Social Realism, The Belief That Art Should Reflect The Realities Of Society Under Capitalism, Was The Artistic Doctrine Of The Communist Party Of Australia, And In 1931 Counihan Became A Confirmed Atheist And A Member Of The Party. He Helped Found The Workers Art Guild, And Began Printmaking, Producing Linocuts And Lithographs For Communist Magazine Covers And Pamphlets As Well As Designing Banners. During The Great Depression Counihan Participated In The "Free Speech" Fights In Brunswick, Organized By The Communist Party In Response To A Victorian State Government Law Banning "Subversive" Gatherings. Dozens Of Members Of The Unemployed Workers Movement Were Arrested, And Unemployed Meetings At The Intersection Of Phoenix Street And Sydney Road, Brunswick Were Dispersed By Police. As Part Of This Fight, A Young Counihan Addressed A Crowd From A Locked Cage On Top A Truck. Police Had To Cut Him Out, To The Jeers Of The Crowd, As He Continued Speaking. From 1934 Counihan Worked As A Cartoonist For Various Publications, Including The Bulletin And The Communist Party's Paper, The Guardian From 1945 To 1949 And Again From 1952 To 1958. He Spent Extended Periods In Hospital With Tuberculosis During The Second World War. With The Encouragement Of The Artist Yosl Bergner, He Began To Paint. He Developed A Personal Style Based On The Social Realist Approach, Producing Compassionate Images Of Workers And Their Working Lives. Counihan Maintained That The Artist Had A Duty To "Gather Information From The Political Developments Of The Time." His 1955 Painting On Parliament Steps Won The George Crouch Memorial Prize In 1956. Counihan Remained Loyal To The Communist Party During Its Various Splits And Despite Its Declining Support In The 1970S And 1980S. His 1973 Posthumous Portrait Of Hugh Gemmell Lamb-Smith - Who Had Taught Counihan At Caulfield Grammar And, As Well, Had Encouraged His Artistic Endeavors Whilst He Was There - Was Largely Painted From Memory. In 1979, Counihan Contributed The Entry On Footballer Roy Cazaly To Volume 7 Of The Australian Dictionary Of Biography. The Counihan Gallery, Managed By City Of Moreland Council, Is Named In His Honor. A Short Distance Away From The Gallery, Outside The Brunswick Mechanics Institute On Sydney Road, A Free Speech Memorial Has Been Built By Artist Simon Perry To Commemorate The Free Speech Fights By The Unemployed In 1933 And Noel Counihan's Part In Them. Inscribed by Illustrator(s).

hardcover. Condition: near fine. GROPPER, William (illustrator). First. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Small 4to, pictorial cloth, board slipcase. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. First trade edition. A near fine copy in very good slipcase. Presentation copy signed by Gropper on the frontis portrait.

Soft cover. Condition: Very Good. No Jacket. 1st Edition. 4to softcover volume with minor edge wear very good +. Signed by Gropper on the front cover. Includes a invite to the first show. Inscribed by Author(s).

hardcover. Condition: very good(+). Gropper, William (illustrator). Profusely illustrated in black & white. Slim 4to, pictorial linen (toned to tan, spine toned small damp stain on upper spine). New York: ACA Gallery Publications, 1938. A very good(+) copy. Presentation copy signed " from Gropper" on the fly leaf.

hardcover. Condition: very good. Gropper, WIlliam (illustrator). First. Profusely illustrated in black & white. Slim 4to, pictorial linen spine darkened, worn at corners. New York; ACA Gallery Publications, 1938. First Edition. A very good copy. Includes 2 exhibition catalogs from the Associated American Artists Galleries from 1994 and ca. 1945. Inscribed and dated on the fly-leaf with an additional hand written signed invitation to a neighbor laid in.

hardcover. Condition: fine. Dust Jacket Condition: near fine. GROPPER, William (illustrator). Limited. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Slim 4to, black pictorial cloth, d.w. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. Limited first edition. Fine in near fine dust wrapper. Number 30 of 150 special copies, with a separate b/w lithograph, signed by the artist.

hardcover. Condition: fine. GROPPER, William (illustrator). Limited. An Exhibition Catalogue. 112 illustrations, including 8 in color. 128 pages. Slim 4to, black & yellow pictorial cloth, yellow board slipcase. Los Angeles: The Ward Ritchie Press, in conjunction with the Joe and Emily Lowe Art Gallery of the University of Miami, 1968. Limited First Edition. Fine in near fine box. Inscribed presentation and original drawing by the artist on the fly-leaf. Number 7 of 150 special copies, with a separate black & white lithograph, signed by the artist.

No Binding. Condition: Very Good. No Jacket. 1st Edition. [Senate] - William Gropper, 18 x 14" Color Lithograph c. 1942, pencil signed to margin and again in lithograph, untitled but other examples are titled "Senate". A lively color lithograph from William Gropper (1897-1977), acclaimed political satirist, cartoonist, and radical leftist illustrator Image is 18 x 14", paper is 22.5 x 17"; sunning to margins, small ink stain to bottom edge of paper, some small tape marks to reverse from previous mountings, print will be shipped rolled. Signed by Illustrator(s).

unbound. 1 page, 10.5 x 8 inches, Great Neck Estates, NY, November 18, 1974. In this letter, Gropper provides the recipient with detailed biographical information, in part: ".I studied art under Robert Henri and George Bellows.their influence on my outlook on life and creativity was enough for me to be inspired for many growing years. In 1927, on the tenth anniversary of the U.S.S.R. - top artists, writers.were invited to visit that country.Theodore Dreiser, Sinclair Lewis and myself were among the guests of the Soviet writers and artists at that conference.and we held discussions on their approach to art and life. At the time I made hundreds of sketches of people wherever I went.and was not hindered or censored in my work. I was and still am interested in people.not in military installations or secret war machines. Artists are the creators that build treasures of civilization. It so happens that Soviet art is supported by their government and their people.so young artists seem to be resigned to struggle for existence and recognition. I have come to the conclusion that all politicians have ever produced is trouble and taxes.and I don't give a hoot for any of them. It matters little to me if you like what I say or not, but as far as I'm concerned, I'm giving it to you straight." Light natural folds; near fine condition. Radical American artist and illustrator best known for his contributions to The Liberator, New Masses, and The Daily Worker.