HOPPER'S ELEVEN —COLLECTOR´S EDITION—

The American Artist

hoppers-1
Nighthawks
Gas

Collector’s edition limited and numbered to 999 copies worldwide.
Each edition contains :
+ 11 iconic Hopper paintings reproduced in art prints (printed on Favini plus 350 grams art paper).
+A yellow cloth case with silver stamping and 240 grams wibalin, in 17 x 24 inches.
+ One booklet.
+ A certificate of authenticity (COA)

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Nighthawks
Nighthawks
16,5 x 23 in
LIMITED ART PRINT 1
Gas
Gas
16,5 x 23 in
LIMITED ART PRINT 2
Early Sunday Morning
Early Sunday Morning
16,5 x 23 in
LIMITED ART PRINT 3

WORLDWIDE COLLECTOR´S EDITION OF 999 COPIES

Edward Hopper. The painter who inspired cinema.

Alfred Hitchcock, Michelangelo Antonioni, Kenneth Lonergan and Martin Scorsese are examples of some of the film directors to whom Hopper left a great mark that would later be reflected in their films.

A New Yorker by birth (1882) and an artist by vocation, after training as an illustrator, Hopper studied until 1906 at the New York School of Art, where he joined the American figurative tradition, the predecessor of pop art, Hopper first painted in New York, where he grew up and worked as an advertising artist (like Andy Warhol). The works of Velázquez, Francisco de Goya and Édouard Manet were great points of reference for the young artist. He soon traveled to Paris where he was able to imbibe the impressionist language of the time. But “I missed the light of New York, its ramshackle spaces, used, destroyed by woodworm. The beauty of Paris can amaze, but in my case, it could not inspire me,” he would say. He traveled part of a Europe whose lights and shadows inspired him to forge his style.

Hopper abandoned the nostalgia of the old continent to settle in the United States, where he began to capture urban environments always with his characteristic halo of loneliness. Melancholy also accompanied him in his landscape canvases in which he favored the sea and cliffs as a backdrop.
Voyeurism is another of the traits of a painter who loved the observation of everyday circumstances, which he then portrayed, managing to capture the loneliness that gave life to the universe of his characters. All of them endowed with a realism in which pause and silence are appreciated, as if it were a scene.

He was able to give color to solitude and paint silence. Hopper was a man of few words. He spoke little but observed much. This was the basis of his philosophy, as he once said: “Great art is the external expression of an inner life in the artist and this inner life will produce his personal vision of the world. The essential element is imagination and there is no level of artificial invention that can replace it.”

He was over 40 years old when he held his first solo exhibition in a gallery. Ten years later, in 1933, the Museum of Modern Art (MoMA), founded four years earlier and then housed in an office building, organized an exhibition that gave him the decisive push to national recognition.

In six decades Hopper created a total of 335 paintings, along with other works on paper. The painter worked slowly and scrupulously. He took a long time to choose a motif and decide whether it was worth portraying.

This artist and great film buff was also inspired by the Hollywood films of the 1930s and 1940s. Many of his paintings had a strong influence on a multitude of frames and scenes of renowned directors of the seventh art, who found in Hopper an artist with a gift for composition on a cinematographic level.

To this day Edward Hopper continues to be one of the most recognized painters in the history of 20th century art. A great portraitist of mid-century America and a virtuoso of modern expression, he was able to capture urban environments and landscapes, imbuing them with the sense of solitude that makes them unique. 

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Chop Suey
Chop Suey
16,5 x 19 in
LIMITED ART PRINT 4
New York interior
New York interior
16,5 x 19 in
LIMITED ART PRINT 5
The house by the railroad
16,5 x 19 in
LIMITED ART PRINT 6
New York movie
16,5 x 19 in
LIMITED ART PRINT 7

THE ELEVEN WORKS

Nighthawks (1942)
The artist focuses on the loneliness of the inhabitants of the Big Apple, defining the modernist movement in a melancholy atmosphere. He focuses on the less glamorous part of the city showing again his critical accent on his personal vision of the world. Fluorescent lights had just been introduced in the early 1940s; thus, the light coming from inside the restaurant casts a mysterious glow as if it were a lighthouse placed on the corner of a nearby dark and abandoned street.
Hopper eliminates any reference that allows us to know where to enter the restaurant; he allows the viewer to contemplate, but not to enter. Thus he turns the four characters, lovers of the night, into anonymous beings for us and, although some of them find the closeness of their bodies, they are distant beings from each other.

It has been a constant as a reference of the cinematographic world. Specifically, Ridley Scott obsessively showed his production and photography team of Blade Runner this painting so that his film could soak up its light, its atmosphere and be able to transfer its color palette to the screen.
Chop Suey (1929)
This is undoubtedly one of the author's masterpieces that was acquired at one of Christie's auctions for 91.8 million dollars. It represents a genre scene inspired by an urban environment where the artist, despite the use of warm colors, is able to convey a solitary atmosphere, although the action takes place in a social context. The painting conveys that despite the company, both people are in their own worlds, engrossed in their thoughts, without any interaction between them.
Gas (1940)
In this painting we can contemplate a perhaps not very artistic place, such as a gas station. All this was consciously sought by the artist, as he spent hours driving with his wife, visiting various gas stations of the time until he saw and had in his retina enough to compose the painting, which is not one in particular, but the fusion of several.

We observe in the center three bright red pumps that immediately catch our attention. And next to the first one a man, as if in the background. A man alone in the middle of the gas station and that wide wooded landscape in which the scene is framed. A road crosses the canvas diagonally into the forest. An even disturbing approach. It is a scene that conveys loneliness but also the feeling that something is going to happen next, in an image that we can define as very cinematographic.
Ground Swell (1939)
A group of young people are sailing on a sailboat. The clarity of the day can be appreciated, but as usual the author omits the sun. One of the pieces of American Modernism in which Hopper's enthusiasm for the sea can be sensed. The sailors, three men and a woman, pay no attention to each other, as they are watching a buoy. All this provokes a certain sense of isolation. In addition, the strong presence of the buoy could refer to an impending doom such as the outbreak of World War II, which occurred while Hopper was working on this painting. In addition, the clouds in the background hint at a storm, perhaps influenced by Hopper's own experience the previous year during the hurricane that hit New England in 1938. Some of his preparatory sketches for this canvas are in the Whitney Museum of American Art.
The House by the Railroad (1925)
This canvas is one of his first works upon his return to the United States and the first work acquired by the MOMA for its permanent collection. The painting shows us a scene with a Victorian house as the protagonist behind train tracks, which are intended to create a barrier of inaccessibility to the viewer. Mrs. Bates seems to be watching us from this work of art that inspired Alfred Hitchcock for the disturbing film "Psycho".
Early Sunday Morning (1930)
The painting portrays the small businesses and stores of New York's Seventh Avenue shortly after dawn. An absolutely blue sky, without a cloud, floats above a long red building. A barber pole stands in front of one of the doorways on the right side of the sidewalk, and a green fire hydrant is to the left. in the vein of the loneliness with which Hopper imbues his paintings, what he wants to convey with the empty street and the somber storefronts and vacant storefronts is the terrible state of the city during the Great Depression of 1929. The picture was painted in 1930 and it appears that the location was a building near Hopper's studio.

Its original title was "Seventh Avenue Shops." The addition of the word "Sunday" to the title was added by someone else, as the author had no recollection of the visit being on that particular day of the week.
Second Story Sunlight (1960)
According to the artist, the painting was "an attempt to paint sunlight in white with almost no yellow pigment in the white," and "any psychological ideas will have to be supplied by the viewer."

In the following years there was some controversy because it was commented that Hopper's wife, Josephine, modeled for the two women in the painting. But all this, perhaps because of the fame the painter already treasured, was disputed by Hopper's neighbors, Marie Stephens and his teenage daughter Kim, who argued that the young woman must have been based on one of them, citing the size of the bust of the woman depicted.

Hopper considered this painting one of his favorites.

New York Movie (1939)
A movie theater in New York, with an engrossed audience seduced by some Hollywood film. In contrast an usherette, who has probably seen the film hundreds of times, stands patiently waiting for the curtain to close soon, immersed in her own thoughts.

It is his wife, Jo, who posed as a model, standing under a lamp in the foyer of their apartment, as is the case with almost all the female figures in Hopper's paintings.

According to the numerous preliminary studies that exist for this painting, we can be sure that the artist not only drew his wife in several different poses for this work, but he also designed with precision the decoration of the auditorium, down to the drawing of the carpet. He also drew on several occasions the auditoriums of his favorite cinemas, such as the Strand, the Palace or the Globe.

The theater he depicts here is the Palace Theater in Times Square (well, mostly, because he also added details of other theaters to make it more beautiful).
New York Interior (1921)

Many of Hopper's works are most evocative images, set in interior spaces and featuring single, isolated figures. All of these are present in this oil painting. We can see a woman starring in the scene although her back is turned to us, and she is partially naked with her shoulders and neck in the air. By her posture and the gesture of her arm, we can intuit that she is sewing something on her knees. And it is almost certain that it is a garment she has just taken off to mend. A parenthesis in the day of any person in which he finds again the greatness of the intimate moments that awaken the curiosity of the human being.

The sense of voyeurism, as well as the dim light that permeates much of the artist's work, are also present here.
THE HASKELL'S HOUSE (1924)
Hopper and artist Jo Nivison (1883-1968), often the model for many of his paintings, were married in 1924. They nicknamed the luxurious house atop the hill the Wedding Cake House. The famous painting was originally acquired by American master painter George Bellows (1882-1925) at a Hopper solo exhibition held at the Frank K. M. M. Rehn Gallery in 1924. The artist depicted the house in two other works, both side views from Prospect Street rather than this view from Main Street.

In the painting, Hopper captured the bright summer day with a vibrant color palette, paying attention to the architectural details of the house, and to the shrubs in the garden which, with the stairs, echo the forms of the house. He layered the colors to show the sunlight on the house and the shadows, which emphasize the prominent, recessed forms of the house.
CAPE COD EVENING (1939)
Edward Hopper painted Cape Cod Evening in 1939 in Truro, a small fishing village on Cape Cod in Massachusetts. Hopper spent nearly half of his 84 summers in Truro, the rolling, sparsely populated stretch of the Cape between Provincetown and Wellfleet.

Of this painting, the artist stated, "It is not a transcription of a place, but a reconstruction from sketches and mental impressions of things in the surroundings. . . . The dry, blowing grass can be seen from my studio window in late summer or autumn. In the woman I tried to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some night sound."

According to his wife, the painting was originally to be titled "Whippoorwill," after the nocturnal bird known for its distinctive song.

Previous slide
Next slide
Nighthawks (1942)
The artist focuses on the loneliness of the inhabitants of the Big Apple, defining the modernist movement in a melancholy atmosphere. He focuses on the less glamorous part of the city showing again his critical accent on his personal vision of the world. Fluorescent lights had just been introduced in the early 1940s; thus, the light coming from inside the restaurant casts a mysterious glow as if it were a lighthouse placed on the corner of a nearby dark and abandoned street.
Hopper eliminates any reference that allows us to know where to enter the restaurant; he allows the viewer to contemplate, but not to enter. Thus he turns the four characters, lovers of the night, into anonymous beings for us and, although some of them find the closeness of their bodies, they are distant beings from each other.

It has been a constant as a reference of the cinematographic world. Specifically, Ridley Scott obsessively showed his production and photography team of Blade Runner this painting so that his film could soak up its light, its atmosphere and be able to transfer its color palette to the screen.
Chop Suey (1929)
This is undoubtedly one of the author's masterpieces that was acquired at one of Christie's auctions for 91.8 million dollars. It represents a genre scene inspired by an urban environment where the artist, despite the use of warm colors, is able to convey a solitary atmosphere, although the action takes place in a social context. The painting conveys that despite the company, both people are in their own worlds, engrossed in their thoughts, without any interaction between them.
Gas (1940)
In this painting we can contemplate a perhaps not very artistic place, such as a gas station. All this was consciously sought by the artist, as he spent hours driving with his wife, visiting various gas stations of the time until he saw and had in his retina enough to compose the painting, which is not one in particular, but the fusion of several.

We observe in the center three bright red pumps that immediately catch our attention. And next to the first one a man, as if in the background. A man alone in the middle of the gas station and that wide wooded landscape in which the scene is framed. A road crosses the canvas diagonally into the forest. An even disturbing approach. It is a scene that conveys loneliness but also the feeling that something is going to happen next, in an image that we can define as very cinematographic.
Ground Swell (1939)
A group of young people are sailing on a sailboat. The clarity of the day can be appreciated, but as usual the author omits the sun. One of the pieces of American Modernism in which Hopper's enthusiasm for the sea can be sensed. The sailors, three men and a woman, pay no attention to each other, as they are watching a buoy. All this provokes a certain sense of isolation. In addition, the strong presence of the buoy could refer to an impending doom such as the outbreak of World War II, which occurred while Hopper was working on this painting. In addition, the clouds in the background hint at a storm, perhaps influenced by Hopper's own experience the previous year during the hurricane that hit New England in 1938. Some of his preparatory sketches for this canvas are in the Whitney Museum of American Art.
The House by the Railroad (1925)
This canvas is one of his first works upon his return to the United States and the first work acquired by the MOMA for its permanent collection. The painting shows us a scene with a Victorian house as the protagonist behind train tracks, which are intended to create a barrier of inaccessibility to the viewer. Mrs. Bates seems to be watching us from this work of art that inspired Alfred Hitchcock for the disturbing film "Psycho".
Early Sunday Morning (1930)
The painting portrays the small businesses and stores of New York's Seventh Avenue shortly after dawn. An absolutely blue sky, without a cloud, floats above a long red building. A barber pole stands in front of one of the doorways on the right side of the sidewalk, and a green fire hydrant is to the left. in the vein of the loneliness with which Hopper imbues his paintings, what he wants to convey with the empty street and the somber storefronts and vacant storefronts is the terrible state of the city during the Great Depression of 1929. The picture was painted in 1930 and it appears that the location was a building near Hopper's studio.

Its original title was "Seventh Avenue Shops." The addition of the word "Sunday" to the title was added by someone else, as the author had no recollection of the visit being on that particular day of the week.
Second Story Sunlight (1960)
According to the artist, the painting was "an attempt to paint sunlight in white with almost no yellow pigment in the white," and "any psychological ideas will have to be supplied by the viewer."

In the following years there was some controversy because it was commented that Hopper's wife, Josephine, modeled for the two women in the painting. But all this, perhaps because of the fame the painter already treasured, was disputed by Hopper's neighbors, Marie Stephens and his teenage daughter Kim, who argued that the young woman must have been based on one of them, citing the size of the bust of the woman depicted.

Hopper considered this painting one of his favorites.

New York Movie (1939)
A movie theater in New York, with an engrossed audience seduced by some Hollywood film. In contrast an usherette, who has probably seen the film hundreds of times, stands patiently waiting for the curtain to close soon, immersed in her own thoughts.

It is his wife, Jo, who posed as a model, standing under a lamp in the foyer of their apartment, as is the case with almost all the female figures in Hopper's paintings.

According to the numerous preliminary studies that exist for this painting, we can be sure that the artist not only drew his wife in several different poses for this work, but he also designed with precision the decoration of the auditorium, down to the drawing of the carpet. He also drew on several occasions the auditoriums of his favorite cinemas, such as the Strand, the Palace or the Globe.

The theater he depicts here is the Palace Theater in Times Square (well, mostly, because he also added details of other theaters to make it more beautiful).
New York Interior (1921)

Many of Hopper's works are most evocative images, set in interior spaces and featuring single, isolated figures. All of these are present in this oil painting. We can see a woman starring in the scene although her back is turned to us, and she is partially naked with her shoulders and neck in the air. By her posture and the gesture of her arm, we can intuit that she is sewing something on her knees. And it is almost certain that it is a garment she has just taken off to mend. A parenthesis in the day of any person in which he finds again the greatness of the intimate moments that awaken the curiosity of the human being.

The sense of voyeurism, as well as the dim light that permeates much of the artist's work, are also present here.
THE HASKELL'S HOUSE (1924)
Hopper and artist Jo Nivison (1883-1968), often the model for many of his paintings, were married in 1924. They nicknamed the luxurious house atop the hill the Wedding Cake House. The famous painting was originally acquired by American master painter George Bellows (1882-1925) at a Hopper solo exhibition held at the Frank K. M. M. Rehn Gallery in 1924. The artist depicted the house in two other works, both side views from Prospect Street rather than this view from Main Street.

In the painting, Hopper captured the bright summer day with a vibrant color palette, paying attention to the architectural details of the house, and to the shrubs in the garden which, with the stairs, echo the forms of the house. He layered the colors to show the sunlight on the house and the shadows, which emphasize the prominent, recessed forms of the house.
CAPE COD EVENING (1939)
Edward Hopper painted Cape Cod Evening in 1939 in Truro, a small fishing village on Cape Cod in Massachusetts. Hopper spent nearly half of his 84 summers in Truro, the rolling, sparsely populated stretch of the Cape between Provincetown and Wellfleet.

Of this painting, the artist stated, "It is not a transcription of a place, but a reconstruction from sketches and mental impressions of things in the surroundings. . . . The dry, blowing grass can be seen from my studio window in late summer or autumn. In the woman I tried to get the broad, strong-jawed face and blond hair of a Finnish type of which there are many on the Cape. The man is a dark-haired Yankee. The dog is listening to something, probably a whippoorwill [sic] or some night sound."

According to his wife, the painting was originally to be titled "Whippoorwill," after the nocturnal bird known for its distinctive song.

Previous slide
Next slide
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Haskells house
16,5 x 21,4 in

LIMITED ART PRINT 8

Cape Cod evening
16,5 x 21,4 in

LIMITED ART PRINT 9

Second Story Sunlight
16,5 x 19 in

LIMITED ART PRINT 10
Ground Swell

Ground Swell
16,5 x 21,4 in

LIMITED ART PRINT 11

FACSIMILE TYPE EDITION

In this volume, a limited edition with a print run of 999 works, The Galobart invites you to discover eleven of his most emblematic works printed on collectible art prints. The collection includes Chop Suey, one of his pieces known for reaching a new record during an auction held in New York: $91.8 million was the final price, far surpassing his previous most valuable work, East Wind Over Weehawken, sold for $40.5 million in 2013, and Hopper’s iconic Nighthawks, Gas and Ground Swell, plus six other pictorial marvels.

The entire collection comes in a limited edition collector’s box, numbered inside, which also includes two small books: one with commentary and articles by artists, collectors and connoisseurs of Hopper’s work and the other by a novelist who imagines conversations and thoughts of the protagonists of Hopper’s paintings.

THE COLLECTOR’S EDITION

Numbered Slipcase

The 11 art prints is delivered inside a slipcase made of a blue cloth case with silver stamping and 240 grams wibalin, in 17 x 24 inches.

The size of the case is 17 x 24 in.

Collection of Limited Edition Art Prints

11 art prints in different formats printed on Favini plus 350 grams art paper.

Certificate of Originality

A certificate of authenticity (COA) is a document that verifies the authenticity of the artwork. In this case, the publisher issues a numbered certificate for each box containing eleven sheets printed on 350-gram art paper.

Our COAs include the artist’s name and details (title, date, support, dimensions) of the artwork.

Each art print also includes the corresponding numbering from 1 to 999 on the back of the sheet.

Separate study Book

Includes a  booklet with a summary of Edward Hopper’s life and a synopsis of the eleven works included in this fabulous collection.

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