Leticia Tarragó Art

"Femme Au Collant Rose" by Rufino Tamayo is a Figurative Abstraction lithograph limited edition measuring 30x22 in. The piece is framed beautifully with a white mat in a gold and bla...

Vintage abstract figural "Embrace", a lithograph by Patricia Ann Way (American, 20th Century). Signed "Patricia Way" and dated "76" lower right. Slight crease to lower center and s...

"Orange Row", Abstract Geometric Minimalist Composition w Ovals, Limited Edition Delicate and perfect ovals in orange, yellow, red, and blue are purposefully arranged on lined paper...

Title: Portrait of a Poet Etching and soft-ground etching, in colors, 2017. Edtion of 30 printed on hand-made 100% cotton paper. Signed, titled and numbered in pencil. In excellent ...

Title: Portrait of a Painter Etching and soft-ground etching, in colors, 2017. Edtion of 30 printed on 100% cotton paper. Signed, titled and numbered in pencil. In excellent condit...

"Dos Figuras en Ochre" by Rufino Tamayo is a Figurative Abstraction Mixographia limited edition measuring 22x24 in. The piece is framed beautifully with a white matt and gold frame ....

"Hombre Blanco" by Rufino Tamayo is a Figurative Abstraction mixografia in color limited edition measuring 30x22 in. The piece is framed beautifully with...

Etching and aquatint on paper. Hand signed and numbered by the artist. HC edition. Sheet size 30 x 22 inches. Image size approx 19.25 x 14.5 inches. Artwork is in overall excell...

Figure and Creek Please note that insitu images are purely an indication of how a piece may look Figure and Creek is a unique contemporary print by Graham Fransella. The warm orange...

1 Ossip Zadkine, Untitled - Couple, etching on paper, c 1959/1960, sheet size 52cm x 38cm, image size 27cm x 21cm. Signed and initialed in the plate. 2 Ossip Zadkine, Untit...

Hand signed and numbered by the artist. Etching on paper. Published by Francois Bénichou, Paris. Galfetti 1215-1217. Frame size approx 28 x 34 inches. Artwork is in excellent condit...

Bold abstract aquatint by Johnny Friedlaender (Polish-French, 1912-1992). Comprised of two main sections, this piece is full of detail and texture. The upper layer is a reddish tan, whereas the bottom layer is a rich brown. Geometrical shapes are arranged such that they almost form mirror images of each other, but vary enough to create interest and a sense of movement. Signed in the lower right corner. Numbered 56/350 in the lower left corner. Includes original certificate of authenticity. Presented in a new cream mat with foamcore backing. Mat size: 42"H x 32"W Paper size: 33.75"H x 24.5"W Johnny Friedlaender was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Johnny Gotthard Friedlaender was born in Pless (Silesia) and his early studies were in Breslau under Otto Mueller. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L 'Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947, he produced the work Reves Cosmiques, and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Stael and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951, and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968, Friedlaender was travelling to Puerto Rico, New York and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain, Rene Carcan...