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  Alexander Liberman / Meyer Schapiro Portfolio Untitled 1973

  ALEXANDER LIBERMAN (1912-1999) USA

  MEYER SCHAPIRO PORTFOLIO 1974

  Untitled 1973

  Silkscreen, patinated bronze frame
  Signed: A. Liberman 1973, Artist’s proof, 2RC (embossed on paper)

  Canvas: H: 33” x W: 25 1/2”

  Frame: H: 42 1/2” x W 33 1/2”

  Portfolio of 12 works, Edition of 100

  Price: $

  Alexander Liberman’s family left the Soviet Union for London as exiles in 1921.  Liberman studied there briefly before moving to Paris where he undertook philosophy and mathematics at the Sorbonne and architecture at the École des Beaux-Arts. In the 1930s Liberman designed stage sets, and worked on the staff of Vu, the first magazine illustrated with photographs.  Although Liberman quickly earned the title of managing director, he left the magazine in 1936, and devoted himself to painting and writing.  In 1941, he left Paris for New York. Again, he became involved in publishing after gaining employment at Vogue magazine. Twenty years later, in 1962, he became Editorial Director of all Condé Nast Publications, a position he held until he retired in 1994. During his time at Vogue, Liberman introduced 20th-century art to readers by using it as a backdrop for fashion shoots, as well as by profiling living artists in the magazine.  As a painter, Liberman exhibited geometric circle paintings in galleries and museums around New York in the 1950s.  Liberman also had an interest in sculpture, and began welding steel into public works in the late 1950s.  These monochrome geometric sculptures are featured in over 40 cities worldwide.

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  Bonnie Maclean, Eric Burdon & The Animals, Mother Earth, Hour Glass, Holy See at the Fillmore, October 19-21, 1967, 1st edition

  BONNIE MACLEAN USA

  Eric Burdon & The Animals, Mother Earth, Hour Glass, Holy See at the Fillmore   October 19-21, 1967

  Marked: B. MacLean © Bill Graham 1967 #89

  H: 21” x W: 14”

  *** An example of this poster is in the permanent collection of the Museum of Modern Art in New York.

  By 1967, Eric Burdon took the Animals into a harder, more psychedelic sound than the one listeners recognized from the band’s earlier incarnation. Burdon would later take this style even further when he teamed up with an obscure Los Angeles band known as War. The poster was printed only once before the concert

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  S O G A T A New York, NY, “Costume for a String Quartette” Watercolor and pencil on paper 1930

  S O G A T A   New York, NY

  “Costume for a String Quartette”   1930

  Watercolor and pencil on paper

  Signed: COSTUME FOR A STRING QUARTETTE. SOGATA. LONDON: 1930. ESPECIALLY FOR CARL VAN V. with script signature (in pencil on lower left and beneath image)

  For contextual history and similar art see: Rhapsodies in Black : Art of the Harlem Renaissance,(Berkeley: University of California Press, 1997); Harlem Renaissance Artists. Jordan, Denise (Chicago: Heinemann Library, 2003).

  Paper H: 14 7/8″ x W: 10 7/8 ”

  Image H: 14″ x W: 10 1/2″

  Frame H: 20 1/2” x W: 17 1/4”

  *This SOGATA New York Watercolor and pencil on paper has been gifted to The Wolfsonian – FIU, Miami Beach, FL.

  Carl van Vechten (1880-1964), to whom this artwork is dedicated, was an influential novelist, critic, and photographer in New York during the 1920s, 30s, and 40s. His role in the Harlem Renaissance is well-documented. Van Vechten also introduced Miguel Covarrubias, a caricaturist and contemporary of Sogata, to prominent Manhattan artistic and society circles.

   

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  Giovanni Battista Filosa, In the Garden, Watercolor, 1884

  GIOVANNI BATTISTA FILOSA (1850-1935) Naples, Italy

  “In the Garden” 1884

  Watercolor, gilt frame and filet with silk mount.

  Signed: G Filosa '84

  ***Filosa exhibited at the Esposizione Internazionale d'Arte della Città di Venezia 1895 – La Biennale di Venezia, Venice

  An extremely fine and exquisitely painted watercolor “In the Garden” by the Italian artist Giovanni Battista Filosa (1850-1935). It is a radiant painting with a wonderful subtle coloration and very charming late 19th century “en plein-air” imagery. Filosa's technique is similar in quality to the work of the 19th Century Pre-Raphaelite watercolorist, Albert Moore. Gilt frame and filet with silk mount. Signed: G Filosa '84 Filosa exhibited at the Esposizione Internazionale d'Arte della Città di Venezia 1895 – La Biennale di Venezia, Venice

  Watercolor: H: 7 1/2″ x W: 5 1/4″
  Framed: H: 14 1/2″ x W: 12″

  Price: $11,500