Items From Brand Workman Publishing

Untitled Lithograph: Lithograph Signed in the plate Year 1964 Jean Picart Le Doux, born in Paris January 31, 1902 and died in 1982, was a French painter and painter-cartonnier the revival of contemporary tapestry. He is the son of the painter Charles Picart Le Doux (1881-1959). Without specialized training, he made his debut in bookbinding and publishing, and then he turned to advertising and graphic arts and publishing his first works in 1935. His first tapestry dating from 1943 after winning the Grand Prix of the theater poster exhibition in the imaging. He met Jean Lurat and, with Marc Saint-Sans, gather around him in 1947 for the Association of painters cardboard tapestry. In 1950, he projects the idea of the Alliance Graphique Internationale, during the meeting with exhibitors of an exhibition of their work in Basel, two other French designers Jean Jacques Colin and Nathan, and two graphic designers Swiss, Fritz Buhler and Donald Brown. AGI is officially founded November 22, 1952 and will be the first president. It is a great master of the Aubusson tapestry, which has produced over four hundred original tapestries during his lifetime. It stated, among other things, Vascuil castle in Normandy in 1974.
$900 $499
44 % OFF
Reconstruction, Serigraph: Serigraph Signed and numbered in pencil Year circa 1985 Edition of LXXV Doug Webb is a self-taught artist who has achieved making painting his sole support for the past 25 years. Born in Istanbul, Turkey, in 1946, he was brought to the United States at a very young age and grew up in California. Residing in Calabasas, Webb has participated in a multitude of national and international exhibitions. His works are in many private and public collections, most notably the collections of: The White House, Washington, D.C.; Price Pfister, Pacific Palisades, California; Holt, Rinehart, and Winston Publishing, Austin, Texas; Malcom Forbes, New Jersey; Michael Caine, Beverly Hills; and Hiroshi Niiyama, Osaka, Japan. It is easy to be overawed by the shear technical artistry of Doug Webb's patiently wrought paintings. However, his real artistry goes beyond creating exquisitely photo-surrealistic canvases. It lies rather in using photo-realism to first lull the viewer into rapidly accepting a seemingly familiar landscape or visual icon only to be jarred upon closer examination by its pointed juxtaposition of the impossible. Webb, in short, draws us into a surreal world of the imagination where very real things are paired, but in a very unreal way. Willfully disdainful of novelties and fads, Webb's focus has remained admirably consistent for the past 25 years; he works slowly, in the manner of the Old Masters, yet he acknowledges a kinship with the Surrealists. Using Magritte-like contrasts in scale and polarity of location or situation, Webb presents us with provocative insight on society and culture. Often his unexpected mixtures mirror the ironies, discontent, and hopefulness, we frequently find in our own daily lives. To create these ultra-realistic works, Webb uses quite small brushes and executes six to eight layers of transparent glazes over layers of paint.
$750 $479
36 % OFF
Out-of-print offset lithograph printed in 1989 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$375 $205
45 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$375 $205
45 % OFF
Out-of-print offset lithograph printed in 1989 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF
Stock Exchange, Poster: Poster Signed in ink lower right Year 1977 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$1800 $1499
16 % OFF
New York, Silkscreen and Acrylic Painting: Silkscreen and acrylic painting Signed and dated Year circa 2008 Bobby Hill is known as a painter, screen printer and illustrator. Fascinated by art since childhood, his broad spectrum of life experience, coupled with an experimentation of innovative techniques give his work a unique range and depth unseen in today's plethora of cookie cutter imagery. With art there is no one formula to success. There is no league such as in professional sports. There is no record deal such as in music. Every visual artist must find his or her own way to their own promised land. In his own words Bobby Hill describes his journey on that yellow brick road that will one day lead to his promised land. "In 1996 I made my public debut at NYC Club Essos' Mad Wednesday's event. Once a week, party promoter, Maria Davis threw the dinner/party/ showcase at the club where all the hip hop industry folks would party. Onstage, before a star studded crowd that included the likes of Jay-Z, Queen Latifah, Andre Harrell and hip hop pioneer Kool Herc among others, I announced an auction and to my discouragement nobody responded. When the showcase was over, I exited the stage to a decent round of applause and walked through the crowd towards the door. Before I could reach the door, Jay-Z complimented me on my work and later in the evening purchased a one of a kind print. Two years later, with monies made from an illustration job for an apparel company, I purchased my own screen printing equipment. This allowed me to create original reproductions of art on paper, canvas and shirts. Everyone has stories about how they sold their wares out of a back of a car. I didn't have a car so I sold my wares off my shoulder. I would walk from the Bronx to Harlem from the east side to the west side with about 48 shirts on my shoulders in the middle of the summer. I eventually started going out of town to all the college homecomings and bike fests. Money was made but things wasn't moving fast enough and winter was fast approaching. Around this time, if you were not a hip hop artist, or had one endorsing your line, there was basically no chance of getting your clothing line sold in stores. I was not associated with any rappers and I didn't spit, so it looked like a wrap for the cold upcoming months. With no money coming in, my stash got lower and lower, and I eventually got evicted from my Bronx apartment. However, not before mailing out samples of my artwork to several magazines and advertising companies. Early 2001, while working a stock job at FIT (Fashion Institute of Technology) my mom received a letter from the publishing company of Slam basketball magazine and XXL hip hop magazine stating that they found the samples of my art in a corner of the publisher's office while cleaning up, and they wanted to do a studio visit. The studio visit happened and a month later my first editorial illustration appeared in Slam magazine. I went on a four month run with those two magazines alone. I'm still working at FIT but I'm getting full page and half page editorial illustrations in national publications. I know people are out there checking for me, they just don't know where to find me. I decide to use my vacation time from my job at FIT and go to Las Vegas for the upcoming August Magic Show (which is a bi-annual fashion trade show) to show my portfolio to all those interested. While out there, several contacts are made and the future looks promising. When I get back to NY on Labor Day, I find out that I had gotten fired from FIT. Ten days later on September 11th 2001, the inevitable happens and the World Trade Center gets knocked to the ground. So everything that I just worked on in Vegas came to a halt. The meetings that were set up once I got back to New York are all canceled. All of a sudden the promising future begins to look bleak. About a month and a half later I receive a call from the art director I worked with at the hip hop magazine. He said that he referred me to an ad agency that was looking for an artist to do some work for Coca Cola. I go to their offices, show my work to the art director and I end up getting picked out of several artists to create original commemorative works of art for their top NY brass. This is when I began to see the possibilities. After I finished the job for Coca Cola, I was able to momentarily fall back and just create art for arts sake. I developed a range of new styles and images and eventually posted them for sale on E-bay. Danny Boy of House of Pain fame happened to see my work on E-bay, sent me an email and suggested I enter an event called Gen Art. In addition to this advice, he eventually featured my work in Mass Appeal magazine. I got picked for the Gen Art shows and from 2002 through 2003, my work was exhibited throughout NYC at Splashlight Studios, The Cutting Room, Trust, MaxFish, The Grey Worldwide Gallery, The Art Directors Club and several galleries in Europe. In 2004, after seeing that the streetwear fashion market was opening up, I changed directions and went back to using clothing as my canvas. The bOB hiLL brand of tees, polos, hoodies and thermals was born. The brand got picked up by several retailers in New York City and is currently doing well. I'm not much for giving advice but I can say this. To all you visual artists on the come up - never stop, no matter how bleak the future looks. Relentless forward motion is what you must keep in mind. Later."
$1200 $999
16 % OFF
Harlem Streets, Serigraph: Serigraph Signed in pencil Year 1982 Edition of PP LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4500 $4199
6 % OFF
Metropolitan Opera, Serigraph: Serigraph Signed and numbered in pencil Year 1978 Edition of 6/300 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$5000 $4199
16 % OFF
Celebrity Night at Spago, Serigraph: Serigraph Signed and numbered in pencil Year 1993 Edition of 300/600 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4500 $4199
6 % OFF
Low East Side, Lithograph: Lithograph Signed and numbered in pencil Edition of 61/1000 Born Albert Schreiber in the lower east side of New York City in January 1929, Al began life in the most unique of circumstances, both Al's parents were deaf mutes. By extraordinary good fortune both Albert and his older brother Jerry were the only members of the entire Schreiber family not to be inflicted by the illness, it did however offer Al the opportunity to become extremely well versed in the art of sign language which would provide personal and professional opportunities throughout his life. Because of his parents lack of speech they had to attract young Al by banging on a table and up until he was nearly five years old Al though of this action as his name, this simple action that even today brings back memories of childhood to Al. Al left home at 16 and had to have an aunt sign the parental papers to allow him to become part of the merchant marines. After a short period Al decided that his future lay with the United States Navy and was found to have the skills to become part of the medical corps. He spent his tour of duty as base medical supervisor, taking care of all medial issues including supplies and even dentistry on all the smaller west coast facilities. As ironic as it may be, Al never went to sea; he actually spent most of his time in the US Navy stationed in the Mojave Desert. After a tour of duty in the United States Navy, Al worked for the Hearst Publishing Corporation as National Sales Manager, and is credited with the success of finding and developing many of today's best known and respected writers. One of the most famous of whom had written his first novel "Carrie" and after a dismal first edition was given to Al to promote through his sales force, after much effort and a second release "Carrie" became a success and the career of Steven King was born. Al then relocated to Florida where a multitude of outdoor activities keeps him busy year round. It was here that Al was introduced to the work of "Fazzino", and although impressed by Fazzino Al thought that much of the historical reference of the pieces was either missing or inaccurate, making comment to his wife that he would love to help the artist with historical research to make the work more authentic. When an illness rendered Al bedridden for several weeks, his wife remembered his comments about the Fazzino work and purchased the necessary tools to allow Al to pass the time by drawing images recalled from his childhood. Realizing that he could transfer his memories onto canvas he began to paint in earnest. Growing up on the east side of Manhattan, Al had absorbed the sights sounds and flavor of the "old neighborhood", which he has incorporated into a series of paintings, entitled "Nostalgia". Combining a lifelong hobby of compiling trivia with his new found artistic ability, Al focused on depicting what life was like in the five boroughs as well as colorfully spirited images in his adopted Florida home in South Beach. His first professional showing at the Delray art affair in 1998 completely sold out and such was the demand for his work that Al turned to publishing his work to feed the demand for the now extremely popular three dimensional, historically accurate renditions of city life in the 20th century. Al now spends his life traveling extensively throughout the country, adding vibrant and stimulating renditions of major cities to his portfolio. When not traveling, Al Schreiber has successfully exhibited and marketed his work in both original and three dimensional forms throughout the United States.
$1200 $999
16 % OFF
Thurmon Munson Offset, Lithograph: Offset litograph Signed Year 2004 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous..., " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$2500 $2499
0 % OFF
Giants - Broncos Classic, Serigraph: Serigraph Signed in the plate Year 1987 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$1500 $1249
16 % OFF
Brownsville Loves the Dodgers, Serigraph: Serigraph Signed and numbered in pencil Year 1997 Edition of 25/1000 Born Albert Schreiber in the lower east side of New York City in January 1929, Al began life in the most unique of circumstances, both Al's parents were deaf mutes. By extraordinary good fortune both Albert and his older brother Jerry were the only members of the entire Schreiber family not to be inflicted by the illness, it did however offer Al the opportunity to become extremely well versed in the art of sign language which would provide personal and professional opportunities throughout his life. Because of his parents lack of speech they had to attract young Al by banging on a table and up until he was nearly five years old Al though of this action as his name, this simple action that even today brings back memories of childhood to Al. Al left home at 16 and had to have an aunt sign the parental papers to allow him to become part of the merchant marines. After a short period Al decided that his future lay with the United States Navy and was found to have the skills to become part of the medical corps. He spent his tour of duty as base medical supervisor, taking care of all medial issues including supplies and even dentistry on all the smaller west coast facilities. As ironic as it may be, Al never went to sea; he actually spent most of his time in the US Navy stationed in the Mojave Desert. After a tour of duty in the United States Navy, Al worked for the Hearst Publishing Corporation as National Sales Manager, and is credited with the success of finding and developing many of today's best known and respected writers. One of the most famous of whom had written his first novel "Carrie" and after a dismal first edition was given to Al to promote through his sales force, after much effort and a second release "Carrie" became a success and the career of Steven King was born. Al then relocated to Florida where a multitude of outdoor activities keeps him busy year round. It was here that Al was introduced to the work of "Fazzino", and although impressed by Fazzino Al thought that much of the historical reference of the pieces was either missing or inaccurate, making comment to his wife that he would love to help the artist with historical research to make the work more authentic. When an illness rendered Al bedridden for several weeks, his wife remembered his comments about the Fazzino work and purchased the necessary tools to allow Al to pass the time by drawing images recalled from his childhood. Realizing that he could transfer his memories onto canvas he began to paint in earnest. Growing up on the east side of Manhattan, Al had absorbed the sights sounds and flavor of the "old neighborhood", which he has incorporated into a series of paintings, entitled "Nostalgia". Combining a lifelong hobby of compiling trivia with his new found artistic ability, Al focused on depicting what life was like in the five boroughs as well as colorfully spirited images in his adopted Florida home in South Beach. His first professional showing at the Delray art affair in 1998 completely sold out and such was the demand for his work that Al turned to publishing his work to feed the demand for the now extremely popular three dimensional, historically accurate renditions of city life in the 20th century. Al now spends his life traveling extensively throughout the country, adding vibrant and stimulating renditions of major cities to his portfolio. When not traveling, Al Schreiber has successfully exhibited and marketed his work in both original and three dimensional forms throughout the United States.
$1200 $999
16 % OFF
The Rocket: Roger Clemens, Serigraph: Serigraph Signed and numbered in pencil Year 2003 Edition of 192/325 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous..., " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4000 $3339
16 % OFF
Statue of Liberty, Poster: Poster Year 1985 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$950 $799
15 % OFF
21 Club, Poster: Poster Signed and dated Year 1977 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$1800 $1499
16 % OFF
21 Club, Serigraph: Serigraph Signed and numbered in pencil Year circa 1980 Edition of 451/500 LeRoy Neiman, American (1921 - 2012) Best known for his brilliantly colored, stunningly energetic images of sporting events and leisure activities, LeRoy Neiman is probably the most popular living artist in the United States. The artistic style of the fabulously successful Neiman is familiar to a remarkably broad spectrum of Americans --"rich and poor, black and white, urban and rural, educated and illiterate, " and young and old alike. He was the official artist at five Olympiads. Millions of people have watched him at work: on ABC TV coverage of the Olympics, as CBS Superbowl computer artist, and at other major competitions, televised on location with his sketchbook and drawing materials, producing split-second records and highly developed images of what he is witnessing. "Before the camera, such reportage of history and the passing scene was one of the most important functions of painters and draftsmen of all sorts. Mr. Neiman has revived an almost lost and time-honored art form, " Carl J. Weinhardt observed in the catalog for the exhibition of Neiman's 1972 Olympics sketches, which was mounted that year by the Indianapolis Museum of Art. In the Christian Science Monitor (May 2, 1972), Nick Seitz wrote that Neiman, who has been labeled an American Impressionist, "has the journalistic talent, as well as the artistic ability, to convey the essence of a game or contestant with great impact, from the Kentucky Derby to Wilt Chamberlain, from the America's Cup to Muhammad Ali, from the Super Bowl to Bobby Hull." A teacher at the School of the Art Institute of Chicago for 10 years early in his career, after studying there, Neiman also gained wide recognition as contributing artist for Playboy, in the 1950s. Many of his images of what he calls " the good life, " have appeared in the form of etchings, lithographs, silkscreen prints, and sculptures as well as paintings, in the permanent collections of public and private museums and other institutions worldwide. These institutional acquisitions, along with sales of approximately 150, 000 of his silkscreen prints to individuals, attest to the enormous appeal of his work. "Whether one approves of Neiman's work or not, ... one must agree that he is a work of art himself, " Stan Isaacs declared in New York Newsday (March 27, 1968), in a reference to Neiman's colorful public persona. "I guess I created LeRoy Neiman, " the artist once said. "Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work." Of Turkish and Swedish descent ("as near as I can figure out, " as he has said), LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota to Charles Runquist, an unskilled laborer, and Lydia (Serline) Runquist. His surname is that of one of his stepfathers; during his childhood his biological father abandoned the family, and his mother, whom he described to Jerry Tallmer for the New York Post (May 9, 1981) as "a very spirited woman, ahead of her times, " later remarried twice. Raised in a rough blue-collar St. Paul neighborhood, early on LeRoy Neiman became a "street kid, " in his words. He attended a Roman Catholic primary school, where, he told Max Millard for the New York City Westside TV Shopper (January 27-February 2, 1979), he "was always drawing pictures and getting special treatment... showing off, copping out of other things." During recess periods he would inscribe pen-and-ink tattoos on his classmates' arms. A painting of a fish that he made in sixth grade won a prize in a national art competition. Starting in adolescence he earned money from local grocers by painting calcimine images of fruit, vegetables and meat as sale items, and portraits of the shopkeepers themselves on the windows of their stores. As a high school student, he created posters for school dances and athletic events. He participated in boxing matches in the basement of his church, which started a lifetime interest in prize fighting. In 1942, Neiman quit school and enlisted in the United States Army. While serving as a cook for four years, with two years of combat in Europe, he painted sexually suggestive murals in military kitchens and dining halls that reportedly generated enthusiastic responses from women as well as men. He also painted stage sets for Red Cross shows under the auspices of the army's Special Services division. "If nothing else, the army completely confirmed me as an artist, " he wrote in his book LeRoy Neiman: Art and Life Style (1974). "During this period I made my crucial discovery of the difference between the lifestyles of the officer and the Pfc [private first class]. This was to become the basis of my later mission in art, to investigate life's social strata from the workingman to the multimillionaire. I discovered that while the poor I knew so well are so often pitiable, the rich can be fools." Neiman has cited as especially influential in his development as an artist the work of the artists Leonardo da Vinci and Rubens, "for spirit"; Tintoretto, "for space"; and Fragonard, "for feel, " as F. Lanier Graham quoted him as saying in The Prints of LeRoy Neiman: A Catalogue Raisonne of Serigraphs, Lithographs, and Etchings (1980). Others include various Romantic Realists, Impressionists, Post-Impressionists, and Fauvists; the French master of light and color Raoul Dufy; the Eastern European Expressionists Kees van Dongen and Oskar Kokoschka; George Bellows and other members of the Ashcan School of art; and the Abstract Expressionists, especially Jackson Pollock and other practitioners of action painting, in which paint is applied directly by such means as splattering and dribbling. During his interview with Max Millard, Neiman said that his painting style came into being "very suddenly." The catalyst that sparked its emergence was Neiman's acquisition, one day in 1953, of partially used cans of enamel paints that were being discarded by the custodian of the apartment house adjacent to his. As F. Lanier Graham pointed out, "Freely flowing paint makes possible fast-moving strokes. With fast-moving strokes, one can render the impression of fast-moving action." "That was when I hit my stride, " Neiman has been quoted as saying with regard to his initial experiments with house paints. Idle Boats, one of his earliest works in that medium, won first prize in oil painting at the 1953 Twin City Show. That same year it was bought by the Minneapolis Institute of Arts and thus became the first of his paintings to be purchased by a museum. Also in 1953, Neiman had his first solo shows, at galleries in Chicago and Lincoln, Illinois. He was among the artists featured in "New Talent in America 1956, " in Art in America (February 1956). In 1957 one of his paintings was included in the "American 25th Biennial Exhibition" at the Corcoran Gallery of Art, in Washington, D.C., and a Neiman work displayed at the Chicago Art Exhibition, which drew 25, 000 visitors, won the prize for most popular painting. Earlier, while freelancing at a Chicago department store, Neiman had made the acquaintance of Hugh Hefner, who was then a copywriter there. In December 1953 Hefner began publishing Playboy. A few months later, after a chance meeting, Neiman showed Hefner some of his paintings. Much impressed, Hefner brought Art Paul, Playboy's art director, to Neiman's apartment to see them. Paul immediately commissioned the artist to illustrate "Black Country, " a short story by Charles Beaumont about a jazz musician. His creation of those illustrations, which earned Playboy an award from the Chicago Art Directors Club in 1954, marks the inception of Neiman's ongoing association with the magazine. In 1958 Neiman began producing sketches and paintings for a Playboy feature called "Man at His Leisure, " for which he also wrote the text. Appearing in the magazine for the next 15 years, "Man at His Leisure" showed the artist's impressions of sporting events and social activities, many of them at some of the world's most socially prestigious locales. During six months of travel abroad for Playboy in 1960, for example, Neiman captured scenes in England, of competitions at the Grand National Steeplechase, Epsom Derby, and Ascot; in Paris, of the Tour d'Argent, Maxim's, the Lido, and the Folies-Bergere; elsewhere in France, of the Cannes Film Festival and St. Tropez; in Madrid, of the Fiesta de San Isidro bullfights; and in Monaco, of the Grand Prix auto race. The multitude of subjects that Neiman depicted for Playboy in later years include the Beatles and the Carnaby Street scene in London; Prince Philip playing polo at Windsor Castle; nudists relaxing on the Dalmatian Coast of Yugoslavia; the running of the bulls in Pamplona, Spain; the Epson Derby; America's Cup challenges; the Kirov and Bolshoi ballet troupes in the Soviet Union; and animals in Kenyan wildlife parks. Between 1960 and 1970 he produced a total of more than 100 paintings and two murals for 18 Playboy clubs. "Playboy made the good life a reality for me and made it the subject matter of my paintings--not affluence and luxury, as such, but joie de vivre itself, " he told an interviewer for VIP Magazine (July 1962). By his own account, LeRoy Neiman works very hard, has no hobbies, and does not take vacations. He paints in a double-height studio in the Hotel des Artistes, a landmark New York City building across the street from one of his favorite subjects--Central Park. In the same building he maintains an office; a penthouse pied-a-terre; and an apartment that he shares with his best friend--his wife, the former Janet Byrne, whom he married on June 22, 1957. His archives, which he is currently assembling for preservation at the Smithsonian Institution, in Washington, D.C., are also kept there. His signature black handlebar mustache and luxuriant slicked-back hair are now peppered with gray, and he is seldom photographed without his trademark prop, a long cigar. Described by Malcolm Lein as quiet and warm, for many years he cultivated a reputation as a flamboyant man-about-town. "I like being outrageous. . . , " he acknowledged to Pete Dexter for Esquire (July 1984). "I don't actually do anything, except be conspicuous. It keeps me revved up." In the New Yorker (February 5, 1979), he was quoted as saying, "My performance is part of my success." A member of the New York City Advisory Commission for Cultural Affairs since 1995, Neiman has received four honorary degrees and, among other honors, an Award of Merit from the American Athletic Union (1976), a Gold Plate Award from the American Academy of Achievement (1977), and a Lifetime Achievement Award from the Muscular Dystrophy Association (1986). Through the years he has donated scores of his artworks to charitable organizations, and in 1995 he gave the School of the Arts at Columbia University, in New York City, a gift of $6 million to create the LeRoy Neiman Center for Print Studies.
$4000 $3339
16 % OFF
Reconstruction, Serigraph: Serigraph Signed and numbered in pencil Year circa 1985 Edition of LXXV Doug Webb is a self-taught artist who has achieved making painting his sole support for the past 25 years. Born in Istanbul, Turkey, in 1946, he was brought to the United States at a very young age and grew up in California. Residing in Calabasas, Webb has participated in a multitude of national and international exhibitions. His works are in many private and public collections, most notably the collections of: The White House, Washington, D.C.; Price Pfister, Pacific Palisades, California; Holt, Rinehart, and Winston Publishing, Austin, Texas; Malcom Forbes, New Jersey; Michael Caine, Beverly Hills; and Hiroshi Niiyama, Osaka, Japan. It is easy to be overawed by the shear technical artistry of Doug Webb's patiently wrought paintings. However, his real artistry goes beyond creating exquisitely photo-surrealistic canvases. It lies rather in using photo-realism to first lull the viewer into rapidly accepting a seemingly familiar landscape or visual icon only to be jarred upon closer examination by its pointed juxtaposition of the impossible. Webb, in short, draws us into a surreal world of the imagination where very real things are paired, but in a very unreal way. Willfully disdainful of novelties and fads, Webb's focus has remained admirably consistent for the past 25 years; he works slowly, in the manner of the Old Masters, yet he acknowledges a kinship with the Surrealists. Using Magritte-like contrasts in scale and polarity of location or situation, Webb presents us with provocative insight on society and culture. Often his unexpected mixtures mirror the ironies, discontent, and hopefulness, we frequently find in our own daily lives. To create these ultra-realistic works, Webb uses quite small brushes and executes six to eight layers of transparent glazes over layers of paint.
$750 $499
33 % OFF
Out-of-print offset lithograph printed in 1999 using high-quality inks; published by teNeues Publishing in Kempen, Germany; framed in a black and silver wood molded frame under plexiglass; comes with a certificate of authenticity
$350 $189
46 % OFF