YAACOV AGAM

Screenprint, 1981
23-1/2 x 26 inches
Printer’s proof, aside from the edition of 72
Signed in pencil by Agam
Published by Circle Fine Art

Screenprint, 1981
23-1/2 x 26 inches
Printer’s proof, aside from the edition of 72
Signed in pencil by Agam
Published by Circle Fine Art

KAREL APPEL

Watercolor and gouache

Lithograph, signed by Appel
Numbered 16/99

Lithograph, printer’s proof

Arman Fernandez

Hydra
Silkscreen print, 1979
30 x 20-1/4 inches
Signed and numbered 114/150
Printed by Studio Heinrici on Arches Velin paper
Published by Jackie Fine Arts

ENRICO BAJ

The General
Lithograph, 1972
30-1/2 x 23-5/8 inches (image)
Signed by Baj lower right
And numbered 38/250 at left

WILL BARNET

The Blue Bicycle

Silkscreen print, 1979
26.5 x 25.5 inches (image)
30 x 22 inches (sheet)
Signed, titled and numbered 71/300
Printed by Fine Creations, Inc. on Arches paper
Published by Circle Fine Art Corp.

Madame Butterfly

Lithograph, 1980
17-1/2 x 33-1/2 inches (image) with full margins
Printer’s proof aside from the edition of 300
Printed on Arches paper by American Atelier
Published by Circle Fine Art

Peter Grimes

11-color lithograph, 1984
22-1/2 x 22 1/2 inches (image)
30 x 22 inches (sheet)
Signed and numbered XXIII / XXV
(Aside from the edition of 250)
Printed by American Atelier on Somerset cream paper
Published by Circle Fine Art / Metropolitan Opera

Girl at Piano

Silkscreen print, 1973
41 x 30 inches (sheet)
Signed and numbered 198/200
Printed by Fine Creations, Inc. on Arches paper
Published by Circle Gallery, Ltd.

Silent Seasons, Summer

Lithograph, 1975
28-7/8 x 22-1/4 inches (image)
32 x 24 inches (sheet)
Signed, titled and numbered 19/200
Printed by American Atelier on Rives BFK paper
Published by Circle Gallery, Ltd.

Ariadne

Lithograph, 1980
31 x 23-1/2 inches (sheet)
Printer’s proof, aside from the edition of 150
Signed, dated and inscribed “Ariadne”

Meditation and Minou

Screenprint and lithograph, 1980
28 x 34 inches (sheet)
Printer’s proof aside from the edition of 300
Printed on Arches paper by Styria Studio, NY
Published by Abrams Original Editions

Lithograph, 1981

29-3/4 x 38 inches (image)
Signed and numbered in pencil
Printed by Styria Studio, Inc., New York

LEONARD BASKIN

Leonard Baskin

Woodcut, 1951
Printed on Sekishu paper
3-3/4 x 5-1/4 inches (image), with full margins
Fern-O’Sullivan 304

Job

Woodcut printed on Sekishu paper
3-3/4 x 2-5/8 inches (image), with full margins
Signed by Baskin lower right

Hospitaller Stag

Woodcut, 1957
Printed on Sekishu paper
3-1/4 x 3 inches (image), with full margins
Published by Gehenna Press
Fern-O’Sullivan 306

FLea

Linoleum cut, 1951
Printed in orange on Sekishu paper
3-3/4 x 5-1/4 inches (image), with full margins
From A Little Book of Natural History
Published by Gehenna Press
Fern-O’Sullivan 105

HOWARD BEHRENS

Leonard Baskin

Howard Behrens: “Untitled”
Color lithograph signed by Behrens and numbered 279/300

Howard Behrens: “Untitled”
Color lithograph signed by Behrens and numbered 279/300

Howard Behrens: “Untitled”
Color lithograph signed by Behrens and numbered 279/300

Howard Behrens: “Untitled”
Color lithograph signed by Behrens and numbered 279/300

MIGUEL BERROCAL

Miguel Berrocal: “Eros,” 1984
Bronze and 24K gold-plate sculpture
Stamped, signed and numbered on bottom of torso
Edition of 14,999
8-1/4 inches high

EUGENE BRANDS

Lithograph, 1997
25-1/4 x 29 3/4 inches
Signed by Brands in pencil, lower right

ALEXANDER CALDER

Blue Sun
Lithograph, 1971
24 x 17-7/8 inches (sheet)
Printer’s proof, aside from the edition of 50
Signed in pencil lower right
Published by Bank Street Atélier

Lithograph, 1971
Published by Bank Street Atélier

Lithograph, 1970
28 x 19-1/2 inches
Artist’s proof, aside from the edition of 100
Signed in pencil by Calder, lower right
Published by Bank Street Atélier

AL CAPP

Prove To Me You Love Me
Silkscreen print, 1974
24-1/4 x 39 inches
Signed, dated and numbered 79/250 in pencil

RENE CARCAN

René Carcan (1925—1993), born in Brussels, Belgium, studied at the Académie Royale des Beaux-Art and afterward with Léon Devos, Jacques Maes and Johnny Friedlaender. Among his important influences were Wassily Kandinsky and Paul Klee. A museum in Brussels is dedicated to the study and preservation of his art work, which encompasses printmaking, sculpture and jewelry design.

Rene Carcan: “Maculiform dans le ciel”
Etching and aquatint
9-1/4 x 6-7/8 inches
Signed, titled and numbered 69/99 by Carcan
With the blindstamp of Jacqueline de Champvallins, Paris

Rene Carcan: “La fleur mysterieuse”
Etching and aquatint
9-1/4 x 6-7/8 inches
Signed, titled and numbered 55/99 by Carcan
With the blindstamp of Jacqueline de Champvallins, Paris

Rene Carcan: “L’homme et le soleil”
Etching and aquatint
9-1/4 x 6-7/8 inches
Signed, titled and numbered 10/135 by Carcan
With the blindstamp of Jacqueline de Champvallins, Paris

LEONORA CARRINGTON

Tuesday
Lithograph, 1987
20-1/4 x 31-1/2 inches (image)
25-1/2 x 36 inches (sheet)
Edition of 150, signed in pencil
Publisher: Brewster Gallery

Crookery Hall

Leonora Carrington – Crookery Hall

Lithograph, 1987
17 x 29-7/8 inches (image)
23-7/8 x 35-7/8 inches (sheet)
Edition of 150, signed in pencil
Publisher: Brewster Gallery

VIJA CELMINS

Comet
Linocut, 1992
16-7/8 x 14-1/4 inches (image)
22-7/8 x 20-1/2 inches (sheet)
Signed V. Celmins and numbered 4/10 H.C.
Edition of 80

SANDRO CHIA

Il Trovatore

8-color lithograph, 1983
30 x 22 inches (sheet)
Signed lower right by Chia
Printer’s proof, aside from the edition of 250
Printed by American Atelier on Somerset cream paper
Published by Circle Fine Art / Metropolitan Opera

Angel with Heart in Hand

Sandro Chia: “Angel with Heart in Hand”
Bronze sculpture
Signed and numbered on base CHIA 26/50
18-3/4 inches high

Korean Olympics

Lithograph, 1988
34 x 26 inches
Signed and dedicated by Chia lower right
Printer’s proof, aside from the edition of 300
From the Official Arts Portfolio of the 1988 Korean Olympics

CHRISTO

Christo: “Wrapped Statues, Project for the Glyptothek”
Color screenprint and photocollage, 1988
34-5/8 x 26-3/4 inches
Edition of 300
Schellmann-Benecke 135.

ANTONIO CLAVE

Carmen

Five-color embossed intaglio print, 1977
30 x 22-1/4 inches
Signed and numbered VI / XXV in pencil
Deluxe Edition printed on Inomachi Nacre paper
Printed at the Atelier of Maurice Rousseau, Monaco
Published by Circle Fine Art / Metropolitan Opera

CORNEILLE

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

Color lithograph
13 x 15-3/4 inches (image) with full margins
Signed and numbered by the artist
Edition of 125

JIM DINE

Jim Dine: “Olympic Robe,” 1988
Color lithograph, 35 x 27 inches
Signed, dated and numbered CXLV/CCC in pencil
Printed on Arches paper

ALFRED EISENSTAEDT

Alfred Eisenstaedt
Jascha Heifetz with the Berlin Philharmonic
Silver print, 1936
12-1/2 x 9-1/2 inches
Signed in ink, verso
Printed 1970s

Alfred Eisenstaedt (1898-1995) is arguably the greatest photojournalist of the 20th century. He has been given major exhibitions by, among others, the Museum of Modern Art, the Whitney Museum of American Art, and the International Center of Photography (a retrospective).

ERTE

(Romain de Tirtoff)

“ERTẾ” is the French pronunciation of the initials R.T., standing for Romain de Tirtoff (1892-1990), a Russian-born artist and designer who emigrated to Paris in 1912 and eventually became known there as “The Father of Art Deco.” He was best known for his fashion designs, but he also created costumes and sets for silent movies such as Ben Hur. Lapsing into obscurity during the 1940s and 1950s, Erté re-emerged in the 1960s to create a series of sculptures and lithographs that signaled the revival of the Art Deco movement. He was honored by the French government in 1976 with the title of Officer of Arts and Letters, and received the Medaille de Vermeil from the City of Paris in 1982.

The Birdcage

Silkscreen print, 1981
25-1/4 x 18 inches (image)
With full margins
Signed and inscribed “P.P.” in pencil
Printer’s proof, aside from the edition of 300

Fireflies
Silkscreen print, 1980
26-1/2 x 18-3/4 inches (image)
32 x 24 inches (sheet)
Signed in pencil lower right
Printer’s proof, aside from the edition of 300
Printed by Chicago Serigraph Workshop on 100% Rag Paper
Published by Circle Fine Art

King’s Favorite

Silkscreen print, 1979
25 x 20 inches (sheet)
Signed by Erte lower right
Printer’s proof,
Aside from the edition of 300
Published by Circle Fine Art

Le Rideau de L’Hiver

Silkscreen print, 1980
17-3/4 x 13 inches (image)
With full margins
Signed by Erte and numbered 161/300
Published by Circle Fine Art

Cloudy Morning

Silkscreen print, 1980
24 x 16-1/2 inches (sheet)
Signed by Erté and numbered 26/300
Published by Circle Fine Art

TOM EVERHART

We have tentatively titled this lithograph “Bonsoir in Bora Bora, Friday,” because it is clearly related to an acrylic painting of that title that can be seen on Tom Everhart’s web site. The lithograph itself is a mystery, as it cannot be found in the inventory of any on-line gallery that handles Everhart prints. Possibly it is a proof that was intended for an edition that was never printed. This would make it very scarce indeed. In any case, the date is 1995, which is the same year Everhart created his very first “Peanuts” lithographs.

Big Hair (Peppermint Patty)

From Everhart’s First Set of Prints (“The Peanuts Paintings”)

Lithograph, 1995
22-1/2 x 30 inches (sheet and image)
Signed by Everhart lower right,
Dated ’95 and numbered 232/250
Published by Circle Fine Art Corp.

Schroeder’s Piano

From Everhart’s First Set of Prints (“The Peanuts Paintings”)

Lithograph, 1995
30-1/4 x 22-3/4 inches (sheet and image)
Signed by Everhart lower right
Printer’s proof, aside from the edition of 250
Published by Circle Fine Art Corp.

Lucy’s Scream

From Everhart’s First Set of Prints (“The Peanuts Paintings”)

Lithograph, 1995
30-1/4 x 22-3/4 inches (sheet and image)
Signed and dated ’95 by Everhart lower right
Printer’s proof, aside from the edition of 250
Published by Circle Fine Art Corp.

Why I Don’t Wear Hats

Silkscreen print, 30-1/8 x 22-1/2 inches
Signed by Everhart lower right
Numbered in pencil 288/350, lower left
Published by S2 Art Group, Ltd., with their blindstamp lower left

Bon Soir in Bora Bora, Friday [?]

Tom Everhart – Bon Soir in Bora Bora, Friday

Tom Everhart – “Bonsoir in Bora Bora, Friday” [?]
Lithograph, 1995
22-3/4 x 30 inches (sheet and image)
Signed and dated by Everhart, lower right
Printer’s proof, aside from an unknown edition
Printed by Circle Fine Art Corp.

Undercover in Hollywood

Lithograph
30 x 23 inches (sheet and image)
Signed by Everhart lower right
Edition of 350

A Guy in a Sharkskin Suit Wearing a Rhinestone Hat at Twilight

Lithograph, 2000
22-1/2 x 36 inches (image), with full borders
Signed and numbered 49/500
Published by S2 Art Group, Ltd.,
With their blindstamp lower left

JEAN-MICHEL FOLON

Contra la peine de mort

Offset lithograph, 1978
38-7/8 x 26-3/4 inches
Published by Alice Editions
Printed in Italy by Elli & Pagani

Color etching, __________ inches
Signed by Folon and numbered 71/75

FRANK FRAZETTA

Brooklyn-born FRANK FRAZETTA (1928-2010) began drawing for comic books when he was sixteen years old, and achieved considerable success in the field during the 1940s and 1950s. Among other things he collaborated with Al Capp and originated the character “Daisy Mae.” But it was the paintings that he created for paperback adventure books beginning in the 1960s that catapulted him to fame and enormous popularity. His cover for Robert Howard and Sprague de Camp’s “Conan the Adventurer” was a sensation, and many people bought the book just for its cover. Then there was his work for Edgar Rice Burroughs, whose “Tarzan” and “Barsoom (John Carter of Mars)” novels Frazetta did covers for and also numerous pen and ink illustrations such as the ones shown here. The author was a Frazetta fan, and he managed to provide him with plenty of work, as Burroughs wrote twenty-six “Tarzan” books.

At the height of his influence as an illustrator, Frank Frazetta was so immensely popular that, according to a New York Times article written in 1977, “Paperback publishers would buy one of his paintings for use as a cover, then commission a writer to turn out a novel to go with it.” In that same year the collection of drawings titled “The Fantastic Art of Frank Frazetta” sold more than 300,000 copies. Frazetta’s paintings have been especially popular among appreciators of heavy metal music. In 2009 his cover artwork for “Conan the Conqueror” was purchased by the lead guitarist of “Metallica,” Kirk Hammett, for $1 million.

Edgar Rice Burroughs Illustration

Pen and ink on paper,
5-12 x 5 inches
Signed by Frazetta lower left

Edgar Rice Burroughts Illustration

Pen and ink on paper
Signed by Frazetta lower right

Illustration for “Jungle Tales of Tarzan”

Pen and ink on paper
5-1/2 x 4 inches inches
Initialed by Frazetta lower right

Illustration for “Tarzan and the Jewels of Opar”

Pen and ink on paper, 1963
3-1/2 x 4-1/2 inches
Initialed by Frazetta lower right

JANE FREILICHER

Flowering Pear

Color lithograph
24-3/8 x 26 inches
Signed and numbered 78/80 by the artist
From the Skowhegan Portfolio

IGOR GALANIN

Empty House

Igor Galanin: “Empty House”
Silkscreen print, 36 x 30 inches
Signed, titled and numbered in pencil
Edition of 250

The Leopard

Abstraction #303

Acrylic and mixed media on paper, 1985
30 x 22-1/2 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #347

Acrylic and mixed media on paper, 1987
28-1/2 x 22 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #417

Mauro Giiuffrida – Abstraction #417

Acrylic and mixed media on paper, 1994
30 x 22-1/4 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #419

Acrylic and mixed media on paper, 1997
30 x 22 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #448

Acrylic and mixed media on canvas, 2006
40-1/4 x 30-1/4 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #428

Acrylic and mixed media on paper, 2002
30 x 22 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #436

Acrylic and mixed media on canvas, 2004
32 x 24 inches
Signed and dated lower right;
Also signed, dated and titled, verso

Abstraction #450

Mauro Giuffrida – Abstraction #450

Acrylic and mixed media on canvas, 2006
40-1/4 x 30-1/4 inches
Signed and dated lower right;
Also signed, dated and titled, verso

R. C. GORMAN

Tulips

Lithograph, 1981
26 x 37 inches
Signed and dated by Gorman
Edition of 225

Beauty Way

Lithograph, 1990
37 x 31 inches
Signed and dated by Gorman
Edition of 225

RED GROOMS

RED GROOMS – “Mother on Her 81st Birthday,” 1989
Color lithograph, 19 x 23-1/2 inches (image) with full margins
Signed and dated by Grooms and numbered W.P. 1/4
Edition of 81
Published by American Atelier

RENE GRUAU

RENE GRUAU, born in Italy in 1909, moved to Paris as a very young man and began his career as a fashion illustrator. During the 1930s and 1940s he worked for many prominent fashion publications and also for the British export magazine International Textiles, for which he designed covers until 1984. In 1947 his friend Christian Dior asked him to draw the “Miss Dior” advertisement, an important event in the artist’s career. While Gruau worked for many other celebrated patrons, including Balmain, Givenchy, Balenciaga and Schiaparelli, it is probably his collaboration with Dior and the House of Dior that has most firmly established his reputation. By the time of his death in 2004 (at the age of 95) Gruau was an internationally honored artist whose work was to be found in numerous national museums and galleries, including the Louvre.

Au Champs de Cours

Lithograph, 28 x 20 inches
Printer’s proof, aside from the edition of 300
Signed by Gruau lower right

Tango

Lithograph, 30 x 21-1/2 inches
Printer’s proof, aside from the edition of 300
Signed by Gruau lower right

Miss Dior

Lithograph,
Bon à tirer proof, aside from the edition of 300
Signed by Gruau lower left

Red Lips and Curl

Rene Gruau – Red Lips and Curl

Lithograph, __________ inches
Artist’s proof, aside from the edition of 300
Signed by Gruau lower right

WILLIAM TODD HAILE

Bird of Paradise

Pochoir
Signed, titled and numbered 39/250

Gladiolas

William Todd Haile – Gladiolas

Pochoir
Signed, titled and numbered 39/250

KEITH HARING

Apocalypse 3

Screenprint, 1988
38 x 38 inches
Printer’s proof, aside from the edition of 90
Signed and dated in pencil at bottom

Apocalypse 8

Screenprint, 1988
38 x 38 inches
Printer’s proof, aside from the edition of 90
Signed and dated in pencil at bottom

Apocalypse 10

Screenprint, 1988
38 x 38 inches
Printer’s proof, aside from the edition of 90
Signed and dated in pencil at bottom

AL HIRSCHFELD

AL HIRSCHFELD (1903-2003) was one of the great caricaturists of his generation. He began creating theatrical drawings for the New York Times in 1929 and continued to do so non-stop for seven decades. Hirschfeld – “The Line King” – was known as a nice guy in a nasty business. On the one hundredth anniversary of his birth – five months after he died at age 99 – he had a Broadway Theater (the Martin Beck) renamed after him. Aside from the drawings he produced for the New York Times and numerous other publications, Hirschfeld illustrated many books and created watercolors, prints and sculptures.

The Sopranos

Lithograph, 2001
20 x 25 inches (sheet)
Signed by Hirschfeld lower right
Printer’s proof No. 1 of 2
Aside from the edition of 120

Frank Sinatra, Teen Idol

Al Hirschfeld – Frank Sinatra, Teen Idol

Lithograph, 2001
15-3/4 x 11-3/4 inches (image), full margins
Signed by Hirschfeld lower right
Artist’s proof, aside from the edition of 150

Four Great Comedians

[W.C. Fields, Charlie Chaplin, Buster Keaton, Groucho Marx]

Lithograph, 2001
20 x 25-1/2 inches (sheet)
Signed by Hirschfeld lower right
Artist’s proof, aside from the edition of 150

DOUGLAS HOFMANN

Seated Nude

Reclining Woman with Pink Bouquet

Color lithograph
Signed by Hofmann and numbered 274/300

Contemplation

Douglas Hofmann – Contemplation

Color lithograph, 31 x 27-1/2 inches
Signed by Hofmann lower right
Artist’s proof

Before the Ballet

Douglas Hofmann – Before the Ballet

Color lithograph, 31 x 27-1/2 inches
Signed by Hofmann lower right
Artist’s proof

HORST P. HORST

Horst P. Horst: “George Hoyningen-Huene
Gelatin silver print, 1934
14-3/8 x 18-1/2 inches
With Horst’s signature in pencil, recto, and a copyright stamp, verso
Printed later

Horst P. Horst, best known for his extraordinary fashion photographs and portraits, can be considered one of the master photographers of the 20th century. He is the first photographer to have had an exhibition at the Louvre, and in 1984 he was given a retrospective exhibition at the International Center of Photography in New York, which then traveled to Montreal, Venice, Florence, and London. During the 1930s Horst made numerous highly regarded portraits of prominent personalities of the time such as Marlene Dietrich, Salvador Dali, Jean Cocteau, and the Duke and Duchess of Windsor. This large-format 1934 portrait is of the photographer George Hoyningen-Huene, who was an important early influence on Horst.

PHIL INTERLANDI

Kiddies’ Carnival

Phil Interlandi – Kiddies’ Carnival

Phil Interlandi: “Kiddies’ Carnival,” 1962
Pen & ink and wash on illustration board
11-5/8 x 10-5/8 inches
Signed in ink lower left, with artist’s stamp and and other notations, verso

The caption reads: “Kiddies’ Carnival is on channel 5, if you don’t mind, gentlemen.” Phil Interlandi was a highly successful freelance cartoonist whose work appeared regularly in a number of national magazines, especially Playboy.

CAROL JABLONSKY

Chinese Bowl

Lithograph, 25 x 37 inches
Signed in pencil by Jablonsky
Edition of 300
Printed by American Atelier

CHUCK JONES

CHUCK JONES (1912-2002) is one of the great figures in the history of animated cartoons. His creations included the Looney Tunes and Merrie Melodies series for Warner Brothers, where the roster of immortal stars included Bugs Bunny, Daffy Duck, Elmer Fudd, the Road Runner and Wile E. Coyete. Three of the short films he created for Warner Brothers were selected by the National Film Registry for preservation in the Library of Congress, which is an honor that the NFR gives to only 25 “culturally, historically, or aesthetically significant films” each year. After his amazing career at Warner Brothers, which ended in 1962, Jones produced cartoons for Metro-Goldwyn-Mayer that included a new series of Tom and Jerry shorts, and a TV adaption of Dr. Seuss’s How the Grinch Stole Christmas. At the age of 84 Chuck Jones was given an honorary Oscar for “the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than half a century.”

Persistence of Carrots

Lithograph, 1991
16 x 20 inches (sheet)
Signed by Chuck Jones in pencil
“Bon à tirer” copy
Edition of 350

The Scweam

[Elmer Fudd, Daffy Duck, Bugs Bunny]

Lithograph, 1991
24 x 20 inches (sheet)
Signed and titled by Chuck Jones in pencil
Printer’s proof, aside from the edition of 350
Printed by American Atelier, with their blindstamp lower left.

September Morn

Lithograph, 1991
16 x 20 inches (sheet)
Signed by Chuck Jones in pencil
Printer’s proof, aside from the edition of 350.

ALEX KATZ

Olympic Swimmer

Silkscreen print, 1976
39-3/4 x 24-7/8 inches (image and sheet)
Signed and numbered 90/200 in pencil
Printed on Arches paper by Chiron Press
Published by Kennedy Graphics, New York

ANISH KAPOOR

Untitled

Aquatint in colors, 1992
34-7/8 x 30-1/4 inches
Signed and numbered 10/80 by the artist
From the Skowhegan Portfolio

LAURA KNIGHT

Laura Knight (1887-1970), English painter, etcher and designer, was one of the most accomplished women artists of the first half of the 20th Century. She exhibited regularly at the Royal Academy, and in 1965 was the first woman to be given a retrospective exhibition at that institution. The painter Alfred Munnings said of her: “Here was a great artist who never ceased working. She possessed the energy of six … Laura Knight could paint anything, be it a small watercolor or a nine foot canvas.” Dame Laura’s paintings can be found in numerous museum collections worldwide.

Lady with Shawl

Laura Knight: “Lady with Shawl,” 1926
Aquatint, 13-3/8 x 9-7/8 inches, with full margins
Signed, titled and inscribed “35 proofs” in pencil
Edition of 35
Bolling/Withington 45

MICHAEL KNIGIN

Michael Knigin: “Thunder and Shower I”
Lithograph, 1979
Printer’s Proof
Signed and dedicated by Knigin

Michael Knigin: “The Placid Way”
Lithograph, 1981
31 x 22 inches (sheet)
Printer’s proof
Signed and dedicated by Knigin

INOUE KOZO

Inoue Kozo: “La fleur d’été”
Silkscreen print signed, titled and numbered 93/150

FERNAND LEGER

Cirque

Color lithograph, c. 1975
20 x 24-5/8 inches with full margins
Numbered 500/600 in pencil
With the Musée Fernand Léger ink stamp
Printed at Atelier Mourlot, France
A very good impression with fresh colors

TAMARA DE LEMPICKA

Portrait of Mrs. Allan Bott
(“Lady in Lace”)

Tamara de Lempicka – Portrait of Mrs. Allan Bott

Lithograph, 1980
26 x 15-1/4 inches (sheet 30 x 22 inches)
Signed K Lempicka, titled Lady in Lace, and numbered 125/300 in pencil
Published by Sienna Publishing, New York

NOTE: This is an estate print signed by Lempicka’s daughter. Tamara de Lempicka died while this lithograph was in production in 1980. The print is a genuine limited edition lithograph, not to be confused with the popular photo-reproductive poster available on many web sites.

RICHARD LINDNER

Der Rosenkavalier

22-color lithograph, 1977
30 x 22 inches (sheet)
Signed and numbered VI \ XXV
Printed by American Atelier, New York
Published by Circle Gallery / Metropolitan Opera

LUCEBERT

Lithograph
Signed by Lucebert and numbered 73/100

MARINO MARINI

La Traviata

11-color lithograph, 1977
30 x 22 inches (sheet)
Signed and numbered VI \ XXV in pencil
Printed on Arches paper by Mourlot, Paris
Published by Circle Fine Art / Metropolitan Opera

PEDRO MARUNA

Para M. Ernst

Color lithograph
15-1/2 x 15-1/2 inches
Signed and numbered 18/200 by the artist

ANDRE MASSON

Don Giovanni

9-color lithograph, 1977
30 x 22 inches (sheet)
Signed, titled and numbered VI/XXV in pencil
Printed by Mourlot, Paris
Published by Circle Fine Art / Metropolitan Opera

Andre Masson – Untitled

Lithograph, signed and numbered 73/130 in pencil

ROBERTO MATTA

Espace de l’espece

Lithograph, 1974
22 x 30-1/4 inches (sheet)
Signed in pencil by Matta lower right
(with unidentified blindstamp)
Edition of 200

PETER MAX

Color lithograph
7-1/4 x 9-1/8 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
11-7/8 x 9 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
7-1/4 x 9-1/8 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
5 x 7-3/4 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
5-1/4 x 5-1/4 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
7 x 5-1/2 inches (image), with full margins
H.C. print, signed and dedicated by Max

Color lithograph
8 x 10-7/8 inches (image), with full margins
H.C. print, signed and dedicated by Max

HARRY McCORMICK

The Landmark Tavern – II

Lithograph, signed and numbered in pencil
26 x 31 inches
Edition of 250

Balloons in Central Park

Screenprint, 1990
22 x 290 inches
Signed and numbered in pencil
Edition of 200

Empire Diner

Lithograph, signed and numbered in pencil
29 x 40 inches
Edition of 250
Printed by American Atelier

Waiting Woman

Lithograph, signed and numbered in pencil

THOMAS McKNIGHT

THOMAS McKNIGHT (b. 1941) started painting when he was thirteen, and by his own admission his style has not changed radically since then. He began painting seriously in 1972, became increasingly well known during the 1980s, and by 1990 he had achieved extraordinary success: six books devoted to his work had been published (two in Japanese) and hundreds of editions of silkscreen prints had been sold. Among his distinctions is having been commissioned by the city of Kobe, Japan to paint a series of views for its Fair in 1993, and being selected by the White House to paint one of the three images for President Clinton’s official Christmas card in 1994.

Malibu

Silkscreen print
21 x 23 inches
Signed in pencil by McKnight
From the Southern California Suite

Venetian Lagoon

Silkscreen print, 1992
18 x 36 inches
Signed in pencil by McKnight
Edition of 200

San Diego – America’s Cup

Silkscreen print, 1992
27-1/2 x 50 inches
Signed in pencil by McKnight
Edition of 200

Newport – America’s Cup

Silkscreen print, 1992
27-1/2 x 50 inches
Signed in pencil by McKnight
Edition of 200

PAUL MOGENSEN

Untitled

Lithograph
Printer’s proof, signed by Mogensen

Untitled

Lithograph
Printer’s proof, signed by Mogensen

RALPH MORSE

Babe Ruth Suits Up for the Last Time

LEROY NEIMAN, born in 1921, may well have been the most popular living American artist by the time he died in 2012. Among his millions of fans was Andy Warhol, who became interested in depicting athletes after watching Neiman at work. Toward the end of a remarkable and extraordinarily productive career, which included being the official artist at five Olympic Games, Neiman was honored in 2010 with the first ever Honorary Professorship of the Arts at the Columbia University School of the Arts.

LeRoy Neiman: “Mike Piazza,” 2000
Silkscreen print, 37 x 29-1/2 inches (image) with full margins
DOUBLE SIGNED by LeRoy Neiman and Mike Piazza
Numbered 391 / 425

LeRoy Neiman: “Johnny Bench, The Catcher,” 1989
Silkscreen print, 38 x 19 inches
Signed in pencil
Edition of 250

LOWELL NESBITT

Iris

Lithograph, 1981
Published and printed by Jackie Fine Art

CARL-HENNING PEDERSEN

Carl-Henning Pedersen: “Den Himmelske Drage IIII”
Woodcut in colors, 25-5/8 x 16-7/8 inches
Signed, titled, dated and numbered 145/150

Carl-Henning Pedersen: “Untitled,” 1984
Bronze sculpture
Signed, dated and numbered on base C H P 84 17/50
7-1/2 inches high

LINNEA PERGOLA

Times Square in the Snow

Silkscreen print, 1995
30 x 40 inches with full margins
Signed in pencil by Pergola
And numbered H.C. 15/35

Times Square – Tickets

Silkscreen print, 1997
30 x 40 inches, with full margins
Signed and numbered 43/300 in pencil

LARRY RIVERS

LARRY RIVERS, born Ytzroch (Irving) Loiza Grossberg in the Bronx in 1923, was a jazz musician, pop artist, filmmaker, sculptor, actor, and writer. He became “Larry Rivers” after being introduced at a nightclub as “Larry Rivers and the Mudcats.” In 1955 he met the artist Jane Freilicher and soon decided that art rather than music was his real calling. From 1947 to 1948 Rivers studied with Hans Hofmann, and later with William Baziotes, but he rebelled against abstract painting and eventually devloped his own distinctive figurative style. River was a major artistic figure but never became widely popular, partly because he usually included figurative elements in his paintings at a time when abstraction reigned supreme in the art world. A major retrospective of Rivers’s work, Larry Rivers: Art and the Artist, took place at the Corcoran Gallery of Art in Washington, D.C., in 2002. He died just five days before the exhibition closed.

Paris Review

Color screenprint, 1991
28-1/2 x28 inches
Signed, dated and numbered 38/125, lower right

Madame Butterfly

Lithograph and silkscreen, 1978
23 x 31 inches (image and sheet)
Signed, dated and numbered VII\XXV, lower left
Printed by Styria Studios
Published by Circle Fine Art / Metropolitan Opera

THE DELUXE EDITION
Printed on rice paper by Styria Studios

JAMES ROSENQUIST

JAMES ROSENQUIST was born in 1933 in Grand Forks, North Dakota. He began his career as a billboard painter, but by 1960 he had rented studio space in Manhattan (his neighbors included Robert Indiana and Ellsworth Kelly), and begun exhibiting in galleries. He was among the pioneers of Pop Art and achieved international recognition with his huge, 23-panel, 86-foot long painting F-111 (1965), which occupied an entire room at the legendary Leo Castelli Galleries in New York. Aside from paintings Rosenquist has created a vast number of drawings and other graphic works, including the print Time Dust, which is thought to be the largest in the world. Rosenquist has received many honors, among them a nominattion in 1987 for membership in the American Academy of Arts and Letters. He has exhibited throughout the world and continues to paint, delighting audiences and inspiring new generations of artists.

Forehead II

Color lithograph on Arches paper, 1968
33-1/2 x 24-5/8 inches (sheet)
Titled, signed and dated in pencil by Rosenquist
Printer’s proof 3/5

ANNE RYAN

Anne Ryan (1889-1954) was an accomplished American modernist painter who was widely respected during her lifetime by critics, curators and fellow artists but who has not received the posthumous attention she probably deserves. This is possibly due in part to the brevity of her career (she painted only during the last fifteen years of her life), as well as to the relatively intimate and restrained nature of her work when compared to that of her contemporaries – and admirers – Willem de Kooning, Jackson Pollock and Hans Hofmann. Beginning in the 1940s Ryan’s work was featured in group exhibitions at major New York institutions including the Museum of Modern Art, the Whitney Museum of American Art, and the Metropolitan Museum, and later on she was given solo exhibitions at these same museums as well as at the Museum of Fine Arts in Boston, the Smithsonian Institution and the Brooklyn Museum. Ryan was also given solo shows by many leading New York City galleries, including Betty Parsons, Kraushaar Gallery, Marlborough Gallery, and André Emmerich. Her work was extensively reviewed (and continues to be) in the major art press. Hilton Kramer was a particular champion of her art and devoted several of his New York Times articles to her.

The woodblock print shown here was once in the collection of the Museum of Modern Art and has vestiges of their label affixed to the backing board. Also attached to the back is the exhibition label of the Arts Council of Great Britain, which was lent this work by MOMA for its exhibition “Thirty American Printmakers.”

The Captive
Color woodcut, 1946
14 x 15-1/2 inches, with good (full?) margins
Signed, titled, dated and numbered 8/18 in white pencil at bottom

TETSURO SAWADA

Seascape

Landscape (Gray)

Landscape (Orange)

KARL SCHRAG

Autumn Wind and Stars

Color lithograph, 1988
Artist’s proof
Signed, dated and titled by Schrag

This is the Hour

Color lithograph, 1993
Printer’s proof 2/4
Signed, dated and titled by Schrag

Summer Day

Color lithograph, 1988
Printer’s proof 4/6
Signed, dated and titled by Schrag

Portrait of Lucien Goldschmidt

Karl Schrag – Portrait of Lucien Goldschmidt

Lithograph, 1990
Printer’s proof
Signed, dated and titled by Schrag

ARTHUR SECUNDA

Arthur Secunda: “Masada”
Color lithograph
11-1/2 x 6 inches (image), with full margins
Signed and numbered 86/200 by Secunda

JOEL SHAPIRO

Spill
Color woodcut, 1992
22-3/8 x 30-1/4 inches
Signed and dated “Shapiro 95” in pencil lower right
Inscribed “Archival Proof” lower left
Aside from the edition of 80

DONNA SUMMER

Madame D

Color lithograph, 34 x 26 inches
Edition of 750
Signed by Donna Summer

PAVEL TCHLELITCHEW

Figure in Armor

Pen and brown ink and wash on paper laid to board, c. 1932
10-3/8 x 8-1/4 inches
Signed “P. Tchelitchew” in ink upper right

PROVENANCE: George Platt Lynes, New York; Richard Nathanson, London. EXHIBITED: The Museum of Modern Art, Tchelitchew, Paintings and Drawings, 1942, no. 109, as Figure in Armor. PUBLISHED: James Thrall Soby, The Museum of Modern Art, 1942, no. 109; Lincoln Kirstein, Drawings of Pavel Tchelitchew, New York, 1970; Lincoln Kirstein, Pavel Tchelitchew, 1994.

VICTOR VASARELY

VICTOR VASARELY, born in 1908 in Pécs, Hungary, was influenced by the Bauhaus school as a young artist. After moving to Paris in 1930 he began to experiment with various optical and kinetic effects in his graphic work, eventually developing his own geometric form of abstraction. He produces the effect of fluctuating movement by meticulously arranging geometric forms accentuated with brilliant colors. Vasareley’s work has come to be recognized as one of the most important contributions to the development of Op Art. In 1976 the Vasarely Museum opened in his home town of Pécs, and a second museum dedicated to his art opened at the Zichy Paclace in Budapest in 1987.

Domb-B – Red

Color screenprint, 1970
30 x 26 inches
Signed and numbered 16/150 by Vasarely

Parmenide (Orange, Red & Blue)

Silkscreen print, 1970
26 x 21-1/2 inches
Printer’s proof signed by Vasarely
Aside from the edition of 200

Domb-B – Yellow

Color screenprint, 1970
30 x 26 inches
Signed and numbered 16/150 by Vasarely

NICO VRIELINK

Japanese Temple

Lithograph, 1998
38 x 27 inches
Signed by Vrielink and numbered 217/350

WALASSE TING

Cat in the Garden

Lithograph, 1981
21 x 29 inches
Printer’s proof aside from the edition of 200
Signed in pencil by Ting
Printed on Arches paper

Reclining Nude

Color lithograph, 1986
Signed by Ting and numbered 73/100 in pencil

ESTEBAN VICENTE

Esteban Vicente: “Noon,” 1982
Lithograph, 21-3/4 x 29-1/2 inches (sheet)
Signed and titled by Vicente in pencil
Printer’s proof, aside from the edition of 150
Printed by American Atelier, published by Transworld Art

Esteban Vicente: “Madrigal II,” 1982
Lithograph, 25-1/2 x 34-1/2 inches (sheet)
Signed and titled by Vicente in pencil
Printer’s proof, aside from the edition of 150
Printed by American Atelier, published by Transworld Art

TOM WESSELMAN

Jeanie’s Backyard, East Hampton
Silkscreen print, 1990
59 x 74 inches
Edition of 100
Printed on museum board

JAMIE WYETH

La Bohème

16-color lithograph, 1977
30 x 22 inches (sheet)
Inscribed “To Steve” and signed in pencil by Wyeth
Printer’s proof, aside from the edition of 260
Printed by American Atleier, New York
Published by Circle Fine Art / Metropolitan Opera

Polizzi Fine Art

8315 3rd Ave, Brooklyn, NY 11209 (718) 680-6777