Fritz Gottschalk Art

Sabartes, Jaime Picasso – Toreros with four original lithographs Publisher: New York & Paris: George Braziller & Andre Sauret, 1961. First edition. Ha...

Yves Klein La Conférence à la Sorbonne, 3 Juin, 1959, 1959-1963 Two 12-inch vinyl records held in gatefold sleeve with silkscreen cover jacket in IKB International Klein Blue...

A very good impression of this color offset lithograph with strong colors. Signed, dated and numbered 230/250 in pencil by Rauschenberg. Published by S...

Johnny Friedlaender (26 December 1912 – 18 June 1992) was a leading 20th-century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Gotthard Johnny Friedlaender was born in Pless (Pszczyna), Prussian Silesia, as the son of a pharmacist. He was graduated from the Breslau (Wrocław) high school in 1922 and then attended the Academy of Arts (Akademie der Bildenden Kunste) in Breslau, where he studied under Otto Mueller. He graduated from the Academy as a master student in 1928. In 1930 he moved to Dresden where he held exhibitions at the J. Sandel Gallery and at the Dresden Art Museum. He was in Berlin for part of 1933, and then journeyed to Paris. After two years in a Nazi concentration camp, he emigrated to Czechoslovakia, where he settled in Ostrava, where he held the first one-man show of his etchings. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L ‘Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947 he produced the work Reves Cosmiques and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Staël and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951 and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968 Friedlaender was travelling to Puerto Rico, New York City and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth-century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain...

Offset lithograph on hodgkins handmade paper. Hand signed and numbered in pencil by the artist. Certificate of authenticity included. Edition of 100. Framed. All reasonable offers w...

Offset lithograph in colors. Hand signed, dated and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 48. All reasonable off...

Angle is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, reproducing...

White Hand is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, reprod...

U no és Ningú is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, rep...

White Flame is a vintage offset print after Antoni Tàpies, printed on hand made paper. It is one of the prints belonging to a deluxe edition of 1982 limited to 2.000 specimens, repro...

Jambs is a vintage offset print after Antoni Tàpies, printed on hand made paper. The artwork is one of the deluxe edition of 1982 limited to 2.000 dedicated to Tapies' works. Signe...

Pointing is an original Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in Late 20th Century. The state of preservation of th...