Artist: LILLIAN MacKENDRICK (American, 1906 - 1987)
Title: "Bal Fantastique" - 1950 - Greetings
Medium: Original Lithograph on colored laid paper
Signature: Signed in the plate
Edition: Limited Edition of 2000, not individually numbered
Size: About 12 x 9 inches
Printer: Artist Equity Funds, Inc.
Publisher: Artist Equity Association
Notes: Part of the Improvisations Portfolio (for the Spring Fantasia Masquerade Ball in New York) published by the Artist Equity Association. The portfolio consisted of advertisements for local New York City businesses where each advertisement was an original lithograph: "Each page was designed by the artist directly on the litho plate, thus making this a collection of original lithographs."
This Original Lithograph was produced for an annual art event in the 1950's for local businesses and major corporations largely based in New York. Historically important for corporate archivists, these are extremely rare to locate and are virtually unseen individually. The original lithographs were produced in only one edition, and included just 2,000. These lithographs are perhaps the most unique, rare, important advertising collectibles that exist for businesses and corporations.
About the Artist: Lilian MacKendrick (1906 - 1987) was active/lived in New York. Lilian MacKendrick is known for Interior with figure painting, sculpture, lithography. Lilian MacKendrick was a natural born artist. She had a talent that was intuitive and a searching artistic intellect. The daughter of Russian emigrants, she grew up in the art world of New York's Armory Show. A graduate of New York University with a degree in Fine Arts, she went on to study sculpture at City College of New York as well as painting at the Art Students League. Her early attempts were in the non-objective field. Despite her tremendous admiration for the great European painters of the 18th & 19th centuries (she copied, as a learning exercise, all the drawings of Goya and Rembrandt in this country), her tastes, since childhood, were for Oriental rather than American and European painting which she found "too violent." But she continued her exploration of the fusion of East and West, arriving at a synthesis that has been described, among other things, as a "recovery of the image."