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Pierre Alechinsky (1927 Belgium)

One of the founders of the CoBrA group, whose dedication to primitive form and often violent strokes of color paralleled the American abstract expressionist movement. The group was formed as a reaction to the formal, reﬁned art popular in other European cities immediately after World War II. The artist's style, anguished during the CoBrA period, softened perceptibly as acceptance for his art grew, but it remains strongly expressionistic. He is particularly adept at achieving subtleties and intensities of color in the lithographic process. The recipient of the Andrew Mellon Prize in 1977, Alechinsky is represented in the collections of sixty-ﬁve of the world's leading museums, incl. Fine Arts Museums of San Francisco and the Museo Reina Sofía in Madrid. He has also been honored with a permanent room in the Louisiana Museumin Denmark.

The winner of the ﬁrst Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for painting in 1984, Alechinsky has been recognized in recent years as one of the most signiﬁcant living artists. (The art market has also noticed his stature: one of his paintings sold at auction several years ago for over $2,000,000.)

Alechinsky was just barely out of his teens when he burst onto the art scene as one of the original members of the COBRA group, and over the years he has emerged as one of the most imaginative and witty artists of our times. Alechinsky fans are everywhere. John Russell, who in 1986-87 devoted three separate columns in The New York Times to Alechinsky, sees him as "a man of strange blameless passions. Decorated invoices, worthless stock certiﬁcates, obsolete air-force navigational charts and ancient hand- written archival materials spark his imagination. . . . He has a taste for natureʼs upheavals." Carlos Fuentes, the Mexican novelist for whom "the garden is the center of the world," has described Alechinsky as a man who "paints gardens. . . . He knows that the history of gardens is the history of all of us. . . . Alechinsky . . . chooses any of the forked paths of the manicured gardens at Blois or Hampton Court and then transforms them, ferociously, into the savage gardens of the primitive mind, the original unity of dream and awareness, reason and imagination, desire and reality." Indeed, it may be that it is his dream of recovering that lost unity that makes him, as The Times called him, "a poet of entanglement, [who] resolutely turns the emphasis away from himself, preferring to act rather as historian and referee than as autobiographer. . . . His touch is light, his thought rapid, his view of the world as sharp as it is benign. There is no better companion, and not many who keep us so consistently amused and are so generous with their ﬁndings."

Alechinsky has had major retrospectives at the Museum of Modern Art and The Guggenheim Museum in NY, The Museum of Arts, Carnegie Museum in Pittsburgh (in 1977, the Year of the Snake), The Palais des Beaux-Arts and the Musées Royeaux des beaux Arts in Brussels, the Musée d'Art Moderne de la Vile de Paris and the Musée National d'Art Moderne, Centre Pompidou in Paris, the Boymans-von-Beuningen in

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Rotterdam, the Louisiana Museum in Humlebaek, and museums in Aalborg, Brême, Copenhagen, Darmstadt, Des Moines, Düsseldorf, Gordes, Hanover, Marseille, Metz, Mexico City, Munich, St. Paul de Vence, Toronto, and Zurich. Spaightwood Galleries has over 175 images by ALechinsky in inventory; in due time, we will post as many as we can on our web site; if you are looking for a particular images, however, please contact is to determine whether we have an impression available.

Our Gallery Etching and Lithography Specials:

Portfolio Book with 45 original lithographs, size 8x6”

Our offer $1,100

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ALECHINSKY ETCHING ANTHROPIE

Period: 1994 Edition: 125 Medium: etching on paper Signed:In Pencil Condition:in mint condition Size: 31.50 inch x 23.62 inch Ed25/25 E. A. (E.A = Artist proof) $1,700

ALECHINSKY ETCHING TROLL

Period: 1991 Edition: 99 Medium: etching on paper Signed:In Pencil Condition:in mint condition Size: 25.98 inch x 20.08 inch Ed. 16/20 E. A. (E.A = Artist proof) $1,800

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Solo Exhibitions 2013 Pierre Alechinsky - Etchings - Broft/vanderHorst modern_contemporary, The Hague Pierre Alechinsky - Centre dʼArt Graphique, Parly

2012 A contre vent - Galerie Lelong - Paris, Paris pierre alechinsky - Museum Jorn (former Silkeborg Art Museum), Silkeborg

2011 Alechinsky - Galerie Sonia Zannettacci, Geneva

2010 Pierre Alechinsky « Divers faits » - Galerie Chantal Bamberger, Strasbourg Alechinsky - Les Atelierrs du Midi - Musée Granet, Aix-en-Provence Sorties de Presse - Botanique, Brussels

2009 Pierre Alechinsky - Ronds - Galerie Lelong - Paris, Paris

2008 Pierre Alechinsky - Malerei - Steine - Graﬁk Fischerplatz Galerie, Ulm, Germany

2007 Alechinsky from A to Y Musée d´Art Moderne Bruxelles, Brussels Pierre Alechinsky The Faroe Islands Art Museum, Thorshavn

2006 Pierre Alechinsky Galerie Lelong - Paris, Paris Pierre Alechinsky Galeri Nev - Ankara, Ankara Alechinsky Carl-Henning Pedersen og Else Alfelts Museum, Herning

2005 Encres et Estampes, 1969-2004 Galerie Sandrine Mons, Nice Paris Galerie tazl., Graz Alechinsky - 50 ans dʼimprimerie Centre de la Gravure et de l'Image imprimée, La Louvière Pierre Alechinsky - Werke aus fünf Jahrzehnten Kunsthalle in Emden, Emden Pierre Alechinsky - graphic work and books France LeJeune Fine Art France LeJeune Fine Art, Mechelen La Suit Voirin - Pierre Alechinsky Museum Kampa - The Jan and Meda Mládek Foundation, Prague

2004 Alechinsky Centre Pompidou - Musée National d´Art Moderne, Paris Pierre Alechinsky

All prices donʼt include sales tax, shipping, mats and frames The OMC Gallery - NEW website - Special offers for a limited time only www.hilger.at Galerie Ernst Hilger, Vienna

2003 Alechinsky - 50 ans dʼimprimerie Musée national des beaux-arts du Québec, Quebec City Alechinsky - Peintures des années 2002 & 2003 Galerie Lelong - Zürich, Zurich Pierre Alechinsky Galerie Dittmar, Berlin

2002 Pierre Alechinsky - Neue Bilder Baukunst Galerie, Cologne

2000 Das kleine Format Galerie Marie-José van de Loo, Munich Pierre Alechinsky Galerie Biedermann, Munich Pierre Alechinsky - Rétrospective Museum Voor Moderne Kunst (PMMK), Oostende Pierre Alechinsky KUNSTKABINETT KUNSTKABINETT, Regensburg Pierre Alechinsky - Bilder und Papierarbeiten Galerie Gabriele von Loeper, Hamburg Pierre Alechinsky - Neue Arbeiten Baukunst Galerie, Cologne Alechinsky - 50 ans dʼimprimerie Centre de la Gravure et de l'Image imprimée, La Louvière

1999 Pierre Alechinsky - Le pinceau voyageu Bawag Foundation, Vienna Pierre Alechinsky MMK Museum Moderner Kunst - Stiftung Wörlen, Passau Pierre Alechinsky -Malerei, Zeichnung, Graﬁk, Buchgraﬁk- www.hilger.at Galerie Ernst Hilger, Vienna

1981 Pierre Alechinsky: A Print Retrospective MoMA - Museum of Modern Art, New York City, NY

1980 Pierre Alechinsky: A Print Retrospective Blaffer Gallery - The Art Museum of the University of Houston, Houston, TX

1978 Alechinsky Centre Pompidou - Musée National d´Art Moderne, Paris

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Our PHOTOGRAPHY Specials

Artist: Herman Leonard (1923 -2010) Title / Year: Duke Ellington, Ella Fitzgerald, Benny Goodman, Stan Hasselgard, Jack Robbins Downbeat, New York , 1948

Technique: Silver Gelatin Print, Ed.50, printed later Dimensions: 20x24 inches Signed / Stamped: signed, numbered and titled on recto Literature: Jazz Memories 1995, Filipacchi, Price on request only!

Herman Leonard (born 1923 in Allentown, Pennsylvania) is an American photographer known for his unique images of jazz icons. Leonard earned a BFA in photography in 1947 from Ohio University, although his college career was interrupted by a tour of duty in the U.S. Army during World War II. In the military he served as a medical technician in Burma, while attached to Chiang Kai Shek's Chinese troops ﬁghting the Japanese.

After graduation, Leonard apprenticed with portraitist Yousuf Karsh for one year. Karsh gave him valuable experience photographing celebrities and public personalities such as Albert Einstein, Harry Truman and Martha Graham.

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In 1948 Leonard opened his ﬁrst studio at 220 Sullivan Street in New York's Greenwich Village. Working free-lance for various magazines, he spent his evenings at the Royal Roost and then Birdland where he photographed the ongoing roster of jazz musicians such as Dexter Gordon, Charlie Parker, Dizzy Gillespie, Billie Holiday, Duke Ellington, Miles Davis and others. The number of shots possible at a time was limited. Using glass negatives at this time, Leonard increased the sensitivity of the plates by exposing them to mercury vapor.

After working for jazz record producer Norman Granz, who used his work on album sleeves, Leonard was employed in 1956 by Marlon Brando as his personal photographer to document an extensive research trip in the Far East. Following his return, he moved to Paris, photographing assignments in the fashion and advertising business and as European correspondent for Playboy Magazine. Leonard's last ﬂurry of photographing jazz musicians dates from this period. Among the features he shot, one behind the Iron Curtain nearly landed him in a Polish jail.[citation needed]

In 1980, Leonard, with his wife Elisabeth and two children, Shana and David, moved from Paris to the island of Ibiza, where he remained until 1988 when he relocated to London with his children. It was here that Leonard had his ﬁrst exhibition of his work at the Special Photographers Company in Notting HIll. The show was viewed by over ten thousand new fans, including singers Sade and Bono of U2. The show toured the US in 1989 and Leonard brieﬂy moved to San Francisco. After an exhibition at the A Gallery for Fine Photography in New Orleans, he fell in love with the city and made it his home for the next fourteen years, immersing himself in the city's lively jazz and blues scene.

In August 2005, Hurricane Katrina destroyed Leonard's home and studio when the 17th Canal Levee broke near his home. The photographer and his family lost much property, including thousands of prints, but his negatives were protected in the vault of the Ogden Museum in New Orleans..[1] Following Hurricane Katrina, Leonard moved to Studio City, California, and re- established his business there, working with music and ﬁlm companies and magazines.

Leonard's jazz photographs, now collector's items, are a unique record of the jazz scene of the 1940s, 1950s and 1960s, and his collection is now in the permanent archives of American Musical History in the Smithsonian Museum in Washington, D.C. In 2008, long-time friend Tony Bennett presented Leonard with the coveted Lucie Award at a ceremony at Lincoln Center in New York City. In June of 2009, Leonard will be the commencement speaker for the 2009 graduating class of Ohio University where he will also receive an honorary doctorate.

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Artist: Horace Bristol (1908 – 1997) Title / Year: Brakeman Jumping from Boxcar (1937) Technique: Silver Gelatin Print (printed later) Dimension(s): 14x11 inches Signed / Stamped: signed on verso References / Literature: Chronicle Books, Ken Conner Debra Heimerdinger, Horace Bristol – An American View, Front Cover and Page 69, 1996

Artist: Horace Bristol (1908 – 1997) Title / Year: 6th street Bridge , Man with Hat, 1933 Technique: Silver Gelatin Print (printed later) Dimension(s): 14x11 inches Signed / Stamped: signed on verso

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Artist: Horace Bristol (1908 – 1997) (The Grapes of Wrath series) Title / Year: Joad Family Applying for Relief, 1938 Technique: Silver Gelatin Print (printed later) Dimension(s): 14x11 inches Signed / Stamped: signed on verso References / Literature: Chronicle Books, Ken Conner Debra Heimerdinger, Horace Bristol – An American View, Page 69 – The Grapes of Wrath, H.B’s. California Photographs, Getty Museum, LA 2002 / 2003

Artist: Horace Bristol (1908 – 1997) (The Grapes of Wrath series) Title / Year: Rose of Sharon 1938 Technique: Silver Gelatin Print (printed later) Dimension(s): 14x11 inches Signed / Stamped: signed on verso References / Literature: Chronicle Books, Ken Conner Debra Heimerdinger, Horace Bristol – An American View, Page 65 The Grapes of Wrath, H.B’s. California Photographs, Getty Museum, LA 2002 / 2003

Bristolʼs Photographs were the inspiration for John Steinbeckʼs Novel “Grapes of Wrath”. All Photographs are Silver Gelatin Prints, printed and signed by the artist during the early 1990-s.

Portfolio of 4 Prints regular retail price $9,000 - 12,000

Our portfolio price $8000

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HORACE BRISTOL 1908-1997

Horace Bristol used his camera to record the human, intimate moments in the grand sweep of history. He captured the best and the worst of this century, from poignant images of the urban poor and migrant farm workers during the Depression, to battle scenes of World War II and compelling portraits of post-war Japan and Southeast Asia.

Born November 16, 1908 in Whittier California, Bristol studied at the just-opened Art Center of Los Angeles, where he was exposed to the subtle, painterly images of Edward Steichen and the powerful industrial landscapes of Margaret Bourke-White. In 1933, Bristol moved to San Francisco to pursue commercial photography, renting a studio a few doors down from Ansel Adamʼs gallery near Union Square. Through Adams, Bristol befriended members of the famed “Group f/64”, including Edward Weston, Dorthea Lange and Imogen Cunningham.

Bristol began contributing to LIFE magazine as a freelancer in June 1937, and garnered his ﬁrst cover just two months later. He was soon hired on staff, working alongside such photographic giants as Alfred Eisenstaedt, Peter Stackpole, and a personal hero, Margaret Bourke-White. Late in 1937, Bristol proposed a story about migrant farm workers in Calforniaʼs Central Valley—a project that would include accompanying text by novelist John Steinbeck. Though LIFE turned down the story, Bristol and Steinbeck agreed to collaborate on a book-length project, and the two men spent several weekends in labor camps during the winter of 1938. Bristol took hundreds of photographs of the suffering farm workers, only to have Steinbeck withdraw from the partnership to write the story as a novel, which became his masterpiece The Grapes of Wrath.

In 1941, after the attack on Pearl Harbor, Bristol leapt at the opportunity to work as one of a select group of five photographers documenting the war under the direction of the influential Edward Steichen. Bristol photographed behind the scenes of key Naval battles, including the invasions of North Africa, Okinawa and Iwo Jima. Following the war, Bristol brought his family to Japan where he photographed the warʼs devastating legacy, as well as the vestiges of traditional Japanese life. In Tokyo, he established the East-West Photo Agency and began selling his photographs of Southeast Asia to virtually every pictorial magazine in Europe and the United States. He also published several books under the East-West name focusing on Pacific Rim countries in transition.

In 1956, devastated by the suicide of his wife, Bristol burned all the negatives and photographs that he kept at his seaside house in Japan, effectively ending one of the most intense photographic careers of his time. His remaining photographs were packed into footlockers, stored, and left untouched for nearly thirty years.

Having put photography behind him and remarried, Bristol was reminded of his past when his 15-year old son Henri came home from high school in 1985 with an assignment to read The Grapes of Wrath. Only then did Bristol open the musty

All prices donʼt include sales tax, shipping, mats and frames The OMC Gallery - NEW website - Special offers for a limited time only footlockers that kept a lifetimeʼs worth of images and memories. When he saw the tired, digniﬁed faces of the migrant farm workers, he couldnʼt help but regret that his lifeʼs work had been all but forgotten in the three decades since heʼd put away his camera.

Horace Bristol died in August 1997, but not before seeing his photographs exhibited in galleries and museums throughout the United States and Europe, and a book of his work published in his name: Horace Bristol, An American View (Chronicle Books, 1996). Currently, his work is on view at the Los Angeles County Museum of Art as part of their Made in California exhibition, and the Getty Museum recently acquired photos from The Grapes of Wrath series for their collection.

Artist; Harold L. Harvey ( He has been Man Ray’s assistant) Title / Year: Still Life, Roses 1937 Technique: Vintage Silver Gelatin Print toned Mounted on Card Board Dimension(s): 9x12.5 inches Signed / Stamped: stamped and signed and dated by the artist

$ 800 for a beautiful Still Life

Artist: Leopold Hugo (1866 – 1933) Title / Year: Eucalyptus Tree (before 1930) Technique: Vintage Bromide Print, Mounted / matted Dimension(s): 13x10 inches Signed / Stamped: signed on recto Bottom right Reference / Literature: Pictorialism in California, Photographs1900 – 1940

$800 for a drawing like Photograph from the late 1920-s)

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The Tibet House Portfolio 1990

HELMUT NEWTON A Scene From Pina Bausch's Ballet, (The Legend of Virginity), Wuppertal

13x15-3/4 Platinum Palladium Photograph, Edition 100