Original 1964 Lithograph "Tondo" by Fritz Glarner

Details

Description

Original lithograph from "Prints from the Mourlot Press", a catalog of an exhibition sponsored by the French Embassy and circulated … Read more Original lithograph from "Prints from the Mourlot Press", a catalog of an exhibition sponsored by the French Embassy and circulated by the Traveling Exhibition Service of the National Collection of Fine Arts, Smithsonian Institution, in 1964-65, with original lithographs by Chagall, Picasso, Miro, Beaudin, Esteve, Matisse, Guiramand, Florsheim, Cathelin, Brasilier, Brianchon, Cocteau, Minaux, Jenkins, Calder, Kito, Giacometti, and Manessier. Printed by the Mourlot Press, Paris, October 1964. Print size: 10 x 7-3/8 inches on Velin d’Arches paper. Verso titled. Signed in stone. Mint condition new old stock from our complete copy of "Prints from the Mourlot Press".

Per S. Dillon Ripley, Secretary, Smithsonian Institute:

“Fernand Mourlot has long been the acknowledged master printer of France in every field, from lithographs to fine books to posters. The unfailing quality of his work commands the respect of museums, collectors, and most important of all, the artists themselves. Every product of his workshop bears the mark of Mourlot’s discipline and craft and can truly be called an ideal collaboration between artist and artisan... The result of years of thoughtful planning, this special exhibition presents an accurate portrait of the Mourlot Press. We are greatly indebted to Fernand Mourlot, who made the selection, supervised the production of the catalogue, and gave endless time and energy to the details of preparation.”

Fritz Glarner (1899 – 1972) was a Swiss-American painter, best known as a representative of geometric abstraction and Concrete Art, closely tied to the legacy of Piet Mondrian and Neo-Plasticism. In the 1930s, Glarner moved to the United States, eventually settling in New York City and became part of the American abstract art movement, alongside artists like Josef Albers and Burgoyne Diller. He developed his own variation of Mondrian’s grid-based Neo-Plasticism, which he called “Relational Painting.” Instead of strictly vertical and horizontal lines, Glarner used diagonal compositions and subtle shifts in proportion to create a sense of movement and dynamism. See less