Jan Matulka (1890-1972), Spanish Woman with Guitar, lithograph, 1925, an unsigned proof impression. Reference: Flint 13, only a few impressions known. In generally good condition except for faint soiling or spotting, trimmed near the margin at left, just outside the margin right and bottom, and well above the margin (although unevenly) top. 13 3/4 x 11 5/8, the sheet 15 x 11 3/4 (approx.) inches, archival window mat.

A very good strong impression of this rarity, printed on a cream wove paper. The inky borders and irregular trimming (as well as the lack of signature) are characteristic of Matulka’s proof printing.

Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the earliest American Precisionist work, and with Stuart Davis to evolve a new form of Americanized Cubism. In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida. In 1919, he first went to Paris, where he was exposed to European modernism, (especially Cubism).

Spanish Woman reflects both the realism that was always a theme in the Matulka’s work and also a Cubist idiom that he was to work with through the years. Matulka often varied his approach from rather conventional realism to cutting edge modernism, even during the same periods. Matulka had his first one-man exhibit in New York City in 1925, the year Spanish Woman was created. A reclusive and independent figure, he did not fashion his art or career for optimal art world recognition. Still, he has been the subject of great interest and regard over the years, especially among artists and curators, and his work is increasingly sought after among those interested in the evolution of American modernism.

Jan Matulka (1890-1972), Maine, lithograph, c. 1925, an unsigned proof impression. Reference: Flint 25, only a few impressions known. In generally good condition, with the inky and oily margins and irregular trimming (as well as the lack of signature) characteristic of Matulka’s proof printing. 11 1/2 x 14 3/8, the sheet 12 1/2 x 19, archival matting.

A good strong impression of this rarely encountered print (no edition was published), printed on a cream wove paper.

Provenance: ex Collection Sylvan Cole

Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the earliest American Precisionist work, and with Stuart Davis to evolve a new form of Americanized Cubism. In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida. In 1919, he first went to Paris, where he was exposed to European modernism, (especially Cubism).

Maine exemplifies both the realism that was always a theme in the Matulka’s work and also a Cubist idiom that he was to refine through the years. Matulka often varied his approach from rather conventional realism to cutting edge modernism, even during the same periods. Matulka had his first one-man exhibit in New York City in 1925, about the time that Maine was created.

A reclusive and independent figure, Matulka did not fashion his art or career for optimal art world recognition. Still, he has been the subject of great interest and regard over the years, especially among artists and curators, and his work is increasingly sought after among those interested in the evolution of American modernism.

Jan Matulka (1890-1972), Three-Quarter View of Nude Bathing Seated Near Lamp, lithograph, 1925, signed and dated in pencil lower right. Reference: Flint 9. Edition: only a few impressions known. On cream laid Japan paper. In good condition, with wide margins at top and bottom, narrow margins on sides, 11 1/2 x 9 7/8, the sheet 17 x 10 3/4 inches, archival mounting.

A fine impression of this important – and rare - Matulka lithograph. This proof impression shows evidence of printing by the artist himself since there is substantial inking in the margins and outside of the image itself; also it is trimmed rather idiosyncratically – wide at the top and bottom, narrow at the sides. No edition is known.

Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the earliest American Precisionist work, and with Stuart Davis to evolve a new form of Americanized Cubism.

In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida.

In 1919, he first went to Paris, where he was exposed to European modernism, (especially Cubism).  Three-Quarter View reflects both the realism that was always a theme in the Matulka’s work and also a Cubist idiom that he was to work with through the years. Matulka often varied his approach from rather conventional realism to cutting edge modernism, even during the same periods.

Matulka had his first one-man exhibit in New York City in 1925. A reclusive and independent figure, he did not fashion his art or career for optimal art world recognition. Still, he has been the subject of great interest and regard over the years, especially among artists and curators, and his work is increasingly sought after among those interested in the evolution of American modernism.

A fine fresh and rich impression of a rare proof (no edition is known), with extensive burr from the drypoint work, and a substantial layering of plate tone. It is quite unusual to encounter prints by Matulka – signed or not- in today’s art market, particularly since he often seemed to produce these prints in very limited numbers, without regard to making them in editions.

Born in Prague, Czechoslovakia, in 1890, Jan Matulka came to New York City in 1907, eventually becoming a leading American modernist. From 1908 to 1917 he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship enabling him to work Southwest and Florida. In 1919, he first went to Paris, where he was exposed to European modernism (especially Cubism).

Three Nudes reflects both the realism that was always a theme in Matulka’s work and also a Cubist idiom that he was to work with through the years. Matulka often varied his approach from rather conventional realism to cutting edge modernism, even during the same periods.

Matulka had his first one-man exhibit in New York City in 1925. His reputation as an iconoclast and loner, oblivious to the workings of the art world, prevented him from achieving the fame that was his due during his lifetime, but he has gained substantial and increasing recognition, especially among artists and curators, in recent years. He continued to paint until he died, in New York City, in 1972.

Jan Matulka (1890-1972), Boat Scene in Central Park, etching and drypoint, 1923 [initialed in the plate JM and bearing signature by another hand lower right]. Reference: Flint 20, second state (of three), a proof impression. In very good condition, with margins (the usual ink marks in the margins as typical of proofs pulled by Matulka), on J Whatman wove paper, with the J Whatman 1923 watermark, 10 3/4 x 13 1/2, the sheet 13 3/4 x 16 1/2 inches, archival mounting.

A very fine rich and fresh impression of this night scene, with a moderate veil of platetone overall, wiped only slightly more on figures in foreground and around the lamp, and with the burr from the drypoint work strong.

The British Museum recently exhibited their impression of this rare work in their landmark show “The American Scene.” Their impression, also an unsigned proof, has the same watermark and although they identified its state as between first and second, appears to be the same state as this proof (Flint’s description calls for the addition of considerable linework to the lamp, sky, platform, fence and figures in the third state, but the differences between the first two states are not so clear).

The evening boat scene in New York’s Central Park was a subject of great interest to Matulka, who returned to it a number of times in prints and paintings.

Jan Matulka (1890-1972), Four Nudes in a Landscape, drypoint, c. 1923, signed in pencil lower right margin [also with initials in the plate lower left]. Reference: Flint 4, only state. Edition: no edition, only several proofs were made. In very good condition, with margins, 10 11/16 x 13 15/16, the sheet 12 1/2 x 17 inches. On laid Strathmore Japan paper, with their watermark, deckle edges top and bottom, archival mount with window mat.

A fine fresh impression, a rare proof (no edition is known), with extensive burr from the drypoint work, and a substantial layering of plate tone.

Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the earliest American Precisionist work, and with Stuart Davis to evolve a new form of Americanized Cubism.

In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer traveling scholarship with which he traveled and painted in the Southwest and Florida.

In 1919, he first went to Paris, where he was exposed to European modernism, (especially Cubism). Four Nudes reflects both the realism that was always a theme in Matulka’s work and also a Cubist idiom that he was to work with through the years. Matulka often varied his approach from rather conventional realism to cutting edge modernism, even during the same periods.

Matulka had his first one-man exhibit in New York City in 1925. His reputation as an iconoclast and loner, oblivious to the workings of the art world, prevented him from achieving the fame that was his due during his lifetime, but he has substantial and increasing recognition, especially among artists and curators, in recent years.  He continued to paint until he died, in New York City, in 1972.