Gropper, Signed (16 results)

softcover. Condition: Nearly fine copy. Profusely illustrated (illustrator). 1st. 4to, 128 pp., Inscribed & signed by the artist in 1968 and with a small drawing on the half-title page.

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: Very Good. Dust Jacket Condition: Good. 1st Edition. 51 Pp. White Boards. First Printing, 1944. Very Scarce, Worldcat Shows Only Four Institutional Holdings. Light Usage. Dust Jacket Priced Rs 6/-, 7S6d. Dust Jacket Worn, Small Chips At Edges. Book Inscribed At Length By Yeh Chien-Yu And Dated April 1947 In New York City Ny, With Much Additional Text In Chinese And The Artist's Red Stamp. Also With An Extra Set Of Pp. Iii-Vi, The Foreword And Introduction, Which Apparently Were Used As A Prospectus For The Book.Ye Qianyu (Or, Yeh Ch'ien-Yü; Born Ye Lunqi (???); 1907 -1995) Was A Chinese Painter And Pioneering Manhua Artist. In April 1927,Ye Qianyu, Together With Fellow Cartoonists Huang Wennong And Lu Shaofei Released A Publication Dedicated To Manhua, Called Shanghai Manhua (Or Shanghai Sketch). The Original Three, Joined By Eight More Artists Including Zhang Guangyu, Ding Song, And Wang Dunqing, Formed The Shanghai Sketch Society (Also Translated As Shanghai Cartoon Association) In The Autumn Of 1927, China's First Association Dedicated To Manhua. The Association Successfully Relaunched The Shanghai Manhua On 21 April 1928. Ye Drew Several Covers For The Magazine And The Back Page Of The Publication Carried His Comic Strip, Mr. Wang. Inspired By The American Strip Bringing Up Father And Portraying The Daily Life Of The Middle And Lower Classes Of Shanghai, Mr. Wang Became One Of China's Most Famous Cartoons, Eventually Being Made Into 11 Films In The 1930S And 40S. In June 1930 Shanghai Manhua Was Merged Into Modern Pictorial, ????), Of Which Ye Became An Editor While Continuing His Mr. Wang Series. When Japan Invaded China And Occupied Shanghai In 1937, Ye Qianyu, Together With A Group Of Fellow Shanghai Cartoonists, Formed The "National Salvation Cartoon Propaganda Corps", Which Included Well-Known Artists Zhang Leping, Lu Zhixiang, Te Wei, And Hu Kao. Ye's Lover, Liang Baibo, Was The Only Female Member. It Was Funded By The Kuomintang Government. Ye Went To Hong Kong Prior To Its Fall To The Japanese In December 1941. In 1943 He Temporarily Worked For The Us General Joseph Stilwell As A War Correspondent In India. Throughout His Travels He Drew Many Sketches Of Wartime Scenes, Including A Series Entitled Escape From Hong Kong. After The Surrender Of Japan In 1945, Ye Qianyu Went To The United States, Where He Held A Series Of Exhibitions To Show And Sell His Artworks. In 1947, Ye Became A Professor At The Beijing Art Academy. When The Cultural Revolution Began In 1966, Ye Qianyu Was Accused Of Being A Kuomintang (Kmt) Agent And Was Imprisoned For Seven Years. Ye Qianyu Was Politically Rehabilitated In 1979. Ye Qianyu Was Married Three Times. In 1940 Ye Qianyu Met The Dancer Dai Ailian In Hong Kong. Dai Ailian Lived Until 2006, And Is Now Known As The "Mother Of Chinese Ballet". Ye's Last Wife Was Wang Renmei, A Famous Actress Who Had Been Previously Married To The "Film Emperor" Jin Yan. Amiya Chandra Chakravarty (1901-1986) Was Literary Secretary To Rabindranath Tagore From 1924 To 1933. He Was Also A Close Associate Of Mahatma Gandhi, Walking With Gandhi In The Salt March Of 1930. Following His 1933 Journey With Tagore, He Left India To Study At Oxford University, And In 1937 Earned A D.Phil. He Moved Back To India In 1940 To Become A Professor Of English At The University Of Calcutta. In 1948, Chakravarty Moved To The Us To Join The Department Of English In Howard University, Became A Fellow Of The Institute For Advanced Study In Princeton During 1950-51, And A Professor At Many Universities. He Wrote Both Poetry And Prose And A Number Of Articles In Journals. He Wrote Many Verse Collections In Bengali. His Poetry Reflects Idealism, Humanism And A Great Love Of Nature And Beauty. He Served As A Delegate To The United Nations For India Chakaravarty Edited A Number Of English Translations Of Tagore's Works. Inscribed by Illustrator(s).

First Edition ~1st Printing Softcover SIGNED and inscribed on half-title page by artist Gropper, good in illustrated covers; lite rubbing/wear to edges and spine else a tight square unmarked copy in sound binding.

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: very good. First edition. Blue leather spine over blue boards. 128pp. Limited to 100 copies which were privately printed for the Joe and Emily Lowe Art Gallery of the University of Miami. Each containing an original lithograph which is limited and signed by the artist loosely laid in. This lithograph is #33/100 and is signed by Gropper. In slipcase. Leather spine shows some sunning. A one inch stain near bottom of spine.

1/4 Leather Over Boards. Condition: Very Good. First Edition 1/100 Deluxe. 128pp, 104 b&w and 8 color illustrations. Designed by Joseph Simon. With a chronology, exhibition history and bibliography. This is the significant monograph on the celebrated American Social Realist artist William Gropper published in conjunction with a 1968 touring retrospective exhibition circulated by the Joe and Emily Lowe Art Gallery of the University of Miami. It presents a comprehensive selection of over forty years of the artist's figurative portraits of the world's disenfranchised poor and working classes contrasted with their powerful employers and oppressors. A handsome example of the exceedingly uncommon ultra-deluxe edition bound in one-quarter blue leather-over-boards for the use of the artist housed in a blue paper-over-boards slipcase limited to one hundred copies with the 8 ½ x 10 ½" black and white lithograph entitled "Grandfather" NUMBERED (84/100) AND SIGNED "Gropper." in pencil along the bottom margin of the recto along with the publisher's limitation slip laid in, as issued. The gilt-stamped leather spine bears just a bit of sunning and spotting along with a slight nick to both the heel and crown. The slipcase shows some mild soiling and age-toning along with an inch-long separation to the joint at the bottom edge. It has been priced accordingly. This is separate and distinct from the editions issued in a yellow paper-over-boards slipcase made for sale by the Joe and Emily Lowe Art Gallery. With an Original Lithograph Signed by the Artist. Artist Monograph.

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.

Hardcover. Condition: Good+. Dust Jacket Condition: Good. Signed by artist with personal inscription " Greetings to Dr. Hallman - 1973" Pages clean. Some chipping and closed tears on book jacket. Photos upon request. International shipping billed at cost.; 8vo 8" - 9" tall; Signed by 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.