Giorgio Morandi Art

Kansei: Like The River's Flow 2010 by Takashi Murakami Offset print, cold stamp and high gloss varnishing with silver ink signed, numbered and stamped by the Artist 27 7/8 in diamete...

Original Santa Fe The Chief Way vintage railroad travel poster. Archival linen backed in very fine condition, ready to frame. Most of the Santa Fe Railway posters feature American Indians, but this poster features the big boss, The Chief! The poster has about a 1" white border around the entire image, the linen backing is not counted in the poster's measurement. Several of the trains were named "Chief" which includes the San Francisco Chief, Texan Chief, Kansas City Chief...

San Francisco United Air Lines original vintage travel poster. Archival linen-back and ready to frame. This original poster is in very fine condition with no restoration. On the lower edge what would appear as minor damage is actually the design of the artwork running along the white stripes of this image. The famous San Francisco Van Ness...

Title: Chanel Year: 1997 Medium: Offset lithograph on archival paper mounted on canvas Size: 30 x 21 inches Condition: Excellent Inscription: Signed in the plate Notes: This special ...

Georgia O'Keeffe, Red Poppy poster, with Friendship Quote, 1987 "Still - in a way - nobody sees a flower - it is so small - we haven't time- and to see takes time, like to have a fr...

Original exhibition poster, based on Gerhard Richter's oil painting "Seestück (bewölkt)" from 1969, measuring 200 x 200 cm. Gerhard Richter (German, b. 1932) Seestück (bewölkt), 196...

This is a hand-colored copper-plate engraving entitled "I. Spatula foetida - II. Caucalis Dodonei - III. Cruciata", depicting three flowering plants, including an Iris, from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. This beautiful hand-colored botanical engraving is presented in a gold-colored wood frame with a French mat...

These two Giovanni Battista Piranesi 18th century etchings of fireplace designs on one sheet is plate 6 from his publication 'Diverse Maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, e Greca con un Ragionamento Apologetico in defesa dell'Architettura Egizia, e Toscana, opera del Cavaliere Giambattista Piranesi...

This is a hand-colored copper plate engraving entitled "Matricaria Flore Simplici, Matricaria Flore Pleno, depicting flowering Feverfew and Double-flowered Feverfew plants, from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. The feverfew plant is also known as featherfew, featherfoil, or bachelor’s buttons...

HIDDEN PEAR, color etching, signed in pencil, numbered 7/50, Jerusalem Print workshop blind stamp, image 7 ½ x 5 ½”, sheet 15 x 10 ¼”. Samuel Bak (born 12 August 1933) is a Polish- American painter and writer who survived the Holocaust and immigrated to Israel in 1948. Since 1993, he has lived in the United States. Samuel Bak was born in Wilno, Poland, Bak was recognized from an early age as having an artistic talent. He describes his family as secular, but proud of their Jewish identity. By 1939 when Bak was six years old, the war began and Wilno was transferred from Poland to Lithuania. When Wilno was occupied by the Germans on June 24, 1941, Bak and his family were forced to move into the ghetto. At the age of nine, he held his first exhibition inside the Ghetto. Bak and his mother sought refuge in a Benedictine convent where a Catholic nun named Maria Mikulska tried to help them. After returning to the ghetto, they were deported to a forced labour camp, but took shelter again in the convent where they remained in hiding until the end of the war. By the end of the war, Samuel and his mother were the only members of his extensive family to survive. His father, Jonas, was shot by the Germans in July 1944, only a few days before Samuel's own liberation. As Bak described the situation, "when in 1944 the Soviets liberated us, we were two among two hundred of Vilna's survivors--from a community that had counted 70 or 80 thousand." Bak and his mother as pre-war Polish citizens were allowed to leave Soviet-occupied Wilno and travel to central Poland, at first settling briefly in Lodz. They soon left Poland and traveled into the American occupied zone of Germany. From 1945 to 1948, he and his mother lived in Displaced Persons camps in Germany. He spent most of this period at the Landsberg am Lech DP camp in Germany. It was there he painted a self-portrait shortly before repudiating his Bar Mitzvah ceremony. Bak also studied painting in Munich during this period, and painted "A Mother and Son", 1947, which evokes some of his dark memories of the Holocaust and escape from Soviet-occupied Poland. In 1948, Bak and his mother immigrated to Israel. In 1952, he studied art at the Bezalel Academy of Arts and Design in Jerusalem. After serving in the Israel Defense Forces, he continued his studies in Paris (from 1956 at the École nationale supérieure des Beaux-Arts) and spent various periods of time in Rome, Paris, Switzerland and Israel before settling permanently in the United States. In 2001, Bak returned to Vilnius for the first time and has since visited his hometown several times. Samuel Bak is a conceptual artist with elements of post-modernism as he employs different styles and visual vernaculars, i.e. surrealism (Salvador Dali, Rene Magritte), analytical cubism (Picasso), pop art (Andy Warhol, Roy Lichtenstein) and quotations from the old masters. The artist never paints direct scenes of mass death. Instead, he employs allegory, metaphor and certain artistic devices such as substitution: toys instead of the murdered children who played with them, books, instead of the people who read them. Further devices are quotations of iconographical prototypes, i.e. Michelangelo's "Creation of Adam" on the Sistine Ceiling or Albrecht Dürer's famous engraving entitled "Melencholia" . In the late 1980s Bak opened up about his paintings, stating they convey “a sense of a world that was shattered.” He turns these prototypes into ironical statements. Irony in the art of Samuel Bak does not mean parody or derision, but rather disenchantment, and the attempt to achieve distance from pain. Recurring symbols are: the Warsaw Ghetto Child, Crematorium Chimneys or vast backgrounds of Renaissance landscape that symbolize the indifference of the outside world. These form a disturbing contrast with the broken and damaged images in the foreground. Samuel Bak's paintings cause discomfort, they are a warning against complacency, a bulwark against collective amnesia with reference to all acts of barbarism, worldwide and throughout the ages, through his personal experience of genocide. In Bak's piece entitled Trains Bak creates a vast grey landscape with large mounts creating the structure of a train. Massive taper candles burn in the distance further down the train tracks, surrounding an eruption. The smoke from the candles and volcano pour into a sky of dark ominous clouds that lurk over the landscape. Here Bak has created a whole new meaning for “trains.” Many of Bak’s pieces incorporate aspects of Jewish culture and the holocaust with a dark and creative twist, such as Shema Israel, Alone, and Ghetto. Chess as a theme of life has always fascinated Bak. In the DP camps and in Israel, he often played chess with his stepfather Markusha. Underground II, 1997, portrays chess pieces in a sunken, subterranean evocation of the Vilna ghetto. Select Group Exhibitions Graphic Works by Contemporary Israeli artists - Israel Museum, Jerusalem Avraham Ofek, Igael Tumarkin, Shmuel Bak, Avigdor Arikha,Jakob Steinhardt, Anna Ticho Artist and Society in Israeli Art, Tel Aviv Museum, Tel Aviv Moshe Gat, Marcel Janco, Yohanan Simon, Ruth Schloss, Menashe Kadishman, Samuel Bak, Yosl Bergner. Selected museum exhibitions Bezalel Museum, Jerusalem, Israel – 1963 Tel Aviv Museum, Tel Aviv, Israel – 1963 Rose Museum, Brandeis University, Waltham, MA – 1976 Germanisches National Museum, Nuremberg, Germany – 1977 Heidelberg Museum, Heidelberg, Germany – 1977 Haifa University, Haifa, Israel – 1978 Kunstmuseum, Düsseldorf, Germany – 1978 Jüdisches Museum, Stadt Frankfurt am Main, Germany – 1993 Hebrew Union College, Jewish Institute of Religion, New York, NY – 1994 South African Jewish Museum, Cape Town, South Africa. 2013-2014. B’nai B’rith Klutznick National Jewish Museum, Washington, DC – 1997 Holocaust Museum Houston, Houston, TX – 1997 National Museum of Lithuania, Vilnius, Lithuania – 2001 Felix Nussbaum...

This artwork titled "Pomegranates" c.1970 is an original color aquatint on Japan paper by noted Indian artist Kaiko Moti, 1921-1989. It is hand signed and numbered XXII/LXXV in White pencil by the artist. The Size is 22 x 29.25 inches. Printed to the edge. It is in excellent condition, some hanging tape remaining on the back from a previous framing. About the artist: Born (Kaikobad Motiwalla) in Bombay, India on December 15, 1921, Moti was first educated at the Bombay School of Fine Arts but his talent led him onwards to study at the University College in London (on scholarship) and at the Slade School of Fine Arts, London, where he received a Master's degree in Painting and Sculpture. While still in London he studied under MacWilliam and Reginald Butler. Eventually moving to Paris in 1950, Moti attended the Academie de la Grand Chaumiere, Atelier Zadkine, to pursue his love of sculpture but lack of space soon compelled him to turn his attention to working on copper plates and he studied engraving with William Stanley Hayter...

Alfred Cohenartist, 1920-2001 Brilliant colourist famed for portraits of the stars and landscapes Although his professed heroes were Rembrandt and Picasso...