Lions Gallery Figurative Prints

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Simka Simkhovitch (Russian/American 1893 - 1949) signed lithograph. Pencil signed and dated "S. Simkhovitch 1933" lower center. Title "Island Beach,"...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Boris deutsch was born in krasnagorka lithuania june 4 1892 died in los angeles 1978.Entered the polytechnic school in riga 1905.School of applied arts berlin 1912. Settled in l.A. 1...

Sandro Chia (Italian, 1946) Children Holiday, 1984 Lithograph in colors on six sheets of Somerset soft white, 71 x 77 inches (180.3 x 195.6 cm) Numbered A.P. 13/15 (aside from an edi...

Space Race Silkscreen on Acrylic hand signed and dated 1970, MOON WALK, color screenprint on Plexiglas depicting the moon landing, from the numbered edition of 150, size 30 x 30” L...

David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

Juan Sebastian Barbera (Spanish, Born 1964 ) Litho on Guarro Paper Titled : La Comision (from the Los Conjuros Suite) Circa, 1994. Hand signed in pencil lower right with edition size number 62 / 75. Frame: 38" X 46" Image: 22" X 30" Juan Sebastián Barberá Durón Plastic artist Cd. de México 1964 Son of the great musical artist Luisa Duron, Mexican harpsichordist, daughter of pianists Jesús Durón Ruiz and Julia Crespo considered a pioneer of the movement and musical flourishing of the Renaissance and Baroque periods and the initiator of the harpsichord school in Mexico .he grew up in an almost Renaissance environment, among artists and under the main protection of the baroque music of Bach and Hotteterre, Couperin and Scarlatti , among others. Since a very young age, he had a great talent for drawing, painting and sculpture and at the age of ten he won the National School contest of art. From there on, he studied painting and engraving with significant teachers, and was dedicated in a very clear way to the plastic arts from the age of 17 years, after a mystical trip to India. He continued his studies at the academy of San Carlos...

Sandro Chia (Italian, 1946) Children Holiday, 1984 Lithograph in colors on six sheets of Somerset soft white, 71 x 77 inches (180.3 x 195.6 cm) Numbered A.P. 13/15 (aside from an edi...

"To Days of Childhood That are Still Unexplained". It depicts six female silhouette figures in long dresses or coats against a blue and pastel purple background. From the Rainier Ma...

Charles Ford, American Photo Realist Pop Artist Texas Artist Photorealism is a movement which began in the late 1960's, in which scenes are painted in a style closely resembling phot...

Hand signed and numbered. with Hebrew calligraphy "Zion" Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was...

Paul Kleinschmidt, (1883–1949) "Man & Two Horses" Lithograph 1916 Frame: 21" X 17" Image: 13.5" X 10.5" Rare Artist's Proof Provenance: bears labels from ACA Galleries and Richard ...

Paul Kleinschmidt, (1883–1949) "The Forest" Lithograph on Cream Paper 1920 Frame: 21" X 17" Image: 10.75" X 8.5" An expressionist forest scene with pine trees Provenance: bears label...

Paul Kleinschmidt, (1883–1949) "Daniel" Etching 1920 Frame: 21" X 17" Image: 9.5" X 7.5" Daniel in the Lions Den Rare Artist's second proof Provenance: bears labels from ACA Gallerie...

Paul Kleinschmidt, (1883–1949) "Tunnel" Etching 1922 Frame: 17" X 21" Image: 10.5" X 13.5" Rare Artist's Proof edition 1 of 4 An architectural study of a bridge and train tunnel Prov...

Ballads Galerie Alexandre Iolas Poster by William N. Copley (CPLY) New-York, Geneve, Milan, Paris 196, Boulevard Saint-Germain William Nelson Copley (January 24, 1919 – May 7, 1996) also known as CPLY, was an American painter, writer, gallerist, collector, patron, publisher and art entrepreneur. His works as an artist have been classified as late Surrealist and precursory to Pop Art. William N. Copley was born in New York City in 1919 to parents John and Flora Lodwell; they died shortly after in the 1919 Spanish Flu epidemic. Copley was adopted in 1921 by Ira C. Copley, the owner of sixteen newspaper companies in Chicago and San Diego. Copley was ten years old whereby the family moved to Coronado Island, California. Copley was sent to Phillips Andover and then Yale University by his adopted parents. He was drafted in the Second World War in the middle of his education at Yale, a decision negotiated by the school and the army. Copley experimented with politics upon returning home from the war, working as a reporter for his father's newspaper. By 1946, Copley met and married Marjorie Doris Wead, the daughter of a test pilot for the Navy. Doris's sister was married to John Ployardt, a Canadian-born animator and narrator at Walt Disney Studios. Copley and Ployardt soon became friends and Ployardt began introducing Copley to painting and Surrealism. The two traveled to Mexico and New York, discovering art, meeting the artists behind the works, and grasping Surrealist ideas. It was during this time that Copley and Ployardt decided to open a gallery in Los Angeles to exhibit Surrealist works. Copley and Ployardt tracked down Man Ray while living in Los Angeles. Ray then introduced them to Marcel Duchamp in New York City. There, Duchamp opened many doors for them, introducing the two to New York dealers in Surrealism. In 1948, Copley and Ployardt opened The Copley Galleries in Beverly Hills, displaying works by artists including René Magritte, Max Ernst, Yves Tanguy, Roberto Matta, Joseph Cornell, and Man Ray. Copley moved to Paris in 1949–50, leaving behind his wife and two children to continue to paint. During his time in Paris, he remained in Surrealist circles and continued to paint with a uniquely American style. Copley's first exhibition took place in Los Angeles in 1951 at Royer's Book Shop. From there Copley participated in numerous solo and group exhibitions worldwide. In 1961, Copley was given an exhibition in Amsterdam by the Stedelijk Museum. The museum became the first public institution to add a Copley to their collection. Copley's paintings throughout the 1950s and 60s dealt with ironic and humorous images of stereotypical American symbols like the Western saloon, cowboys, and pin-up girls combined with flags. His works during this period were often considered a combination of American and Mexican folk art and melded in well with the new young POP movement occurring in America when he returned to New York in the 1960s. Artists like Andy Warhol, Christo, Roy Lichtenstein and many others were frequent visitors at Copley's studio on Lower Broadway. Copley believed that pop art had always interested him, claiming American pop art had much to do with "self-disgust" and "satire." In 1967, after a divorce with his second wife, Noma, Copley and new friend Dmitri Petrov decided to publish portfolios of 20th-century artist collaborations with the abbreviation SMS (for "Shit Must Stop"). Copley's Upper West Side loft became a meeting place for performers, artists, curators, and composers to work together on the open-ended collective. The SMS portfolio...

Keith Sonnier, American (1941-2020) lithograph From Neon series circa 1980-1981 Bears the Waterstreet Press watermarks and Arches paper blind stamp to lower right corner. Pub. Edizioni Lucio Amelio Hand signed with initials in pencil Dimensions: 30 x 21 3/4 inches Post minimalist Abstract by Keith Sonnier Keith Sonnier (1941 – 2020) was a post minimalist sculptor, performance artist, video and light artist. Sonnier was one of the first artists to use light in sculpture in the 1960s. With his use of neon in combination with ephemeral materials he achieved international recognition. Sonnier was part of the Process Art movement. James Keith Sonnier was born July 31, 1941, in Mamou, Louisiana. His family was Cajun and Roman Catholic. His father was a hardware store owner, Joseph Sonnier, and his mother was a florist and singer, Mae Ledoux. He graduated in 1963 from Southwestern Louisiana Institute (now known as the University of Louisiana at Lafayette). In 1966, he graduated with his MFA degree from Rutgers University, where he studied under Allan Kaprow, Robert Watts, and Robert Morris. After graduation from Rutgers, he moved to New York City with Jackie Winsor and some of his former classmates. Sonnier died in Southampton, NY on July 18, 2020. Sonnier began experimenting with neon in 1968. Neon lights became a signature material used in his sculptural works. The common materials Sonnier employed included neon and fluorescent lights; reflective materials; aluminum and copper; and glass and wires. Of the generation of James Turrell and Dan Flavin, He was also associated with the Light and Space movement, a loosely affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin. It is characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Artists included Ron Cooper...

DAVID SALLE (American, 1952- ) Lucky 1992 Photoengraving heliogravure on Lana paper Edition Julie Sylvester, New York Hand signed and dated in pencil lower right, numbered lower left...

DAVID SALLE (American, 1952- ) Lucky 1992 Photoengraving heliogravure on Lana paper Edition Julie Sylvester, New York Hand signed and dated in pencil lower right, numbered lower lef...

DAVID SALLE (American, 1952- ) Lucky 1992 Photoengraving heliogravure on Lana paper Edition Julie Sylvester, New York Hand signed and dated in pencil lower right, numbered lower left...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Aviv...