Jan Sawka Art

Emidio di Nola, original Italian pasta poster. Size 19" x 25.5". Professional acid-free archival linen-backed; in excellent condition; ready to frame....

Circa 1890-1920. This Neoclassical, Judaic, Egyptian revival, Orientalist Mizrach sign, was produced in British Mandate Palestine by the chromolithograph process at the beginning of the 20th century. It pictures vignettes of holy places. with a hand written memorial. It was for the Tzedakah charity fund for the century-old institutions in Jerusalem: The great "Torah Center Etz Chaim"; a Free Kitchen for poor children and orphans; the famous Bikur Cholim Hospital with its dispensaries and clinics and the only Home for Incurable Invalids in Eretz Israel. They also worked with Arthur Szyk and Alfred Salzmann.. The A.L. Monsohn Lithographic Press (Monzon Press, Monson Press, דפוס אבן א"ל מאנזאהן, דפוס מונזון) was established in Jerusalem in 1892 by Abraham-Leib (or Avrom-Leyb) Monsohn II (Jerusalem, c.1871-1930) and his brother Moshe-Mordechai (Meyshe-Mordkhe). Sponsored by members of the Hamburger family, the brothers had been sent to Frankfurt, Germany in 1890 to study lithography. Upon returning to Jerusalem in 1892 with a hand press, they established the A.L. Monsohn Lithographic Press in the Old City of Jerusalem. According to the Information Center for Israeli Art A.L. Monsohn "created complex decorations for documents and oriental calendars that combined the tradition of Jewish art with modern printing techniques such as photographic lithography, raised printing and gilding." The founders of the Monsohn press produced Jewish-themed color postcards, greeting cards, Jewish National Fund stamps, and maps documenting the evolution of the Jewish settlement in Eretz Israel in the nineteenth-twentieth centuries; religious material such as decorative plaques for synagogues, portraits of Old Yishuv rabbis such as Shmuel Salant, Mizrah posters indicating the direction of prayer for synagogues, memorial posters, and posters for Sukkot booths; color frontispieces for books such as Pentateuch volumes and the early song collections of Abraham Zvi Idelsohn (e.g., Shire Zion, Jerusalem 1908); artistic wedding invitations; and labels, packaging and advertisements for the pioneering entrepreneurs of Eretz Israel. The texts appearing in the Monsohn products were in several languages: Hebrew, Arabic, Yiddish, English, German (e.g., a c1920 trilingual Hebrew-English-Arabic "Malaria Danger" broadside warning the public of mosquitoes spreading malaria). Many of the brilliantly colored postcards and maps can be seen online as can the artistic invitations to his children's weddings which Monsohn published in the Jerusalem Hebrew press. For years, the Monsohn (later, Monson/Monzon) Press was considered the best and most innovative in the country—pioneering in such techniques as gold-embossing and offset printing, among others. Early items for tourists included collections of Flowers of the Holy Land (c. 1910–1918)—pressed local flowers accompanied by scenes from the Eretz Israel countryside and relevant verses from the Bible, edited by Jsac Chagise (or Itzhak Haggis), an immigrant from Vitebsk, and bound in carved olive wood boards. Shortly after World War I Monsohn (now spelled מונזון) used zincography to produce the prints included in the Hebrew Gannenu educational booklets for young children illustrated by Ze'ev Raban of the Bezalel Academy of Art and Design and printed in Jerusalem by Hayim Refael Hakohen (vol. 1, 1919; vols. 2–3, 1920). In 1934 Monsohn moved into the new, western part of Jerusalem, in a shop with four presses and 30 workers, including Abraham-Leib's sons, David, Yosef, Moshe and Shimon, and his daughter Raytse's husband, Abraham Barmacz. The concern did business with all sectors of the city's population, including Arabs, for whom they printed in Arabic. Among their clients were members of the Ginio, Havilio, and Elite families, and Shemen, Dubek, and other renowned national brands, manufacturing products such as wine, candies, oil, and cigarettes. They also printed movie and travel posters, and government posters, postcards and documents, hotel luggage labels...

A rare Judaic memorial piece for mother.

Original Talco Paglieriri Italian poster, Linen backed by Gino Boccasile. Size: 13.25" x 19". Year: c. 1949-1950. Very good condition. Grade A., ready to frame. The bab...

Original 1973 Vail Village, Colorado vintage travel and skiing poster. Preservation linen-mounted in A- condition, ready to frame. Discover Vintage Vail Magic! Take a trip back i...

Original poster: BALLY, a.k.a. Bally Kick and Bally Globe. Artist: Bernard Villemot. Ready to frame. Note that this is the small format version of the poster. Museum linen backed. A poster that is a combination of both art and advertisement. This is one of the last posters that Villemot created. Grade A Condition. The image shows a woman kicking up her heel, while her shadow is that of a man's leg and shoe. The globe in the background shows that Bally is a worldwide company. Add a touch of elegance and nostalgia to your space with this stunning original Bally vintage poster...

Hand-colored steel engraving of a the Turkish section of the Great Exhibition of 1851 by Lowes Cato Dickinson (British, 1819-1908). On verso i...

Original poster: Parc de Bagatelle et Louis Vuitton 1999 Hand-signed by the artist Razzia in black marker on the left side. In plate right side. Linen backed, ready to frame. Excellent condition. Linen-backed Parc de Bagatelle. Concours Automobiles et Louis Vuitton. September 1999. Hand-signed by the artist in black marker in the lower left. The signature on the plate is in the lower right. This original poster is also archivally linen-backed and ready to frame. This was the merger of Mercedes Benz and Chrysler with an automobile from each company represented. The Louis Vuitton house...

Gants de Suede (Suede Gloves) Lithograph, 1890 Signed in the stone with the butterfly signature (see photo) Published in: The Studio 3, No. 13 (16 April 1894) Printed by Way in an ed...

Von Guenewaldt was known for his woodcuts of exotic animals, birds especially. They are technically refined with a lovely color range, and in a generally arts and crafts style. Our p...

This (Street Scene) is undoubtedly O'Callahan's hometown of Buffalo, NY, where he lived and spent most of his career. The artist's name appears in pencil at the bottom edge on the re...

Dan Flavin Dan Flavin at Albright Knox Gallery (hand signed and inscribed to renowned curator) Offset Lithograph. Hand signed and inscribed by Dan Flavin 18 × 22 inches Provenance: Estate of artist and collector Rick Collar Unframed Uniquely inscribed and hand signed 1972 Dan Flavin exhibition poster from his Albright Knox exhibition. Dan Flavin hand signs and inscribes it to Paulus Hendrik Hefting, the curator of the Neue Nationalgalerie in Berlin. The inscription reads: "Best regards and best wishes to you especially in "diagrams and drawings". What Flavin is referring to is the important exhibition also in 1972, "Diagrams & Drawings" curated by Hefting, at the Rijksmuseum Kröller-Müller (Netherlands), which featured Carl Andre, Christo, Walter De Maria, Dan Flavin, Michael Heizer, Don Judd, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Richard Serra, Robert Smithson. An extremely rare signed poster with a unique inscription to a major European curator referencing an historic Minimalist exhibition in the early 1970s. We may not see the likes of something like this anytime soon! Dan Flavin Biography From 1963, when he conceived the diagonal of May 25, 1963 (to Constantin Brancusi), a single gold fluorescent lamp installed diagonally on the wall, until his death in 1996, Dan Flavin (1933-1996) produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations (or “situations,” as he preferred to call them) of light and color. Through these light constructions, Flavin was able to establish and redefine space. Flavin’s first solo exhibitions were held at the Judson Gallery in 1961 and the Green Gallery in 1964, both in New York. His first European exhibition was in 1966 at Galerie Rudolf Zwirner in Cologne, Germany; and in 1969, the National Gallery of Canada, Ottawa, organized his first major museum retrospective. His work was included in a number of key early exhibitions of Minimal art in the 1960s, among them Black, White, and Gray (Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 1964); Primary Structures (The Jewish Museum, New York, 1966); and Minimal Art (Gemeentemuseum, The Hague, 1968). Flavin’s work would continue to be presented internationally over the course of the pursuant decades at venues including the St. Louis Art Museum, Missouri (1973); Kunsthalle Basel (1975); Museum Boymans-van Beuningen, Rotterdam (1975); Stedelijk Museum, Amsterdam (1986); and the Solomon R. Guggenheim Museum, New York (1992), among others. A major museum retrospective devoted to Flavin’s work was organized, in cooperation with the Estate of Dan Flavin, by the Dia Art Foundation in association with the National Gallery of Art, Washington, DC, where it was first on view in 2004. The exhibition traveled from 2005 to 2007 to the Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; Musée d’Art Moderne de la Ville de Paris...