Gaston Petit

Sharaku

1980

Grafica '68 (Partial) Portfolio containing 3 (three) lithographs and etchings Originally issued with 10 Lithographs, Silk Screens and Etchings, of which 7 (seven) are missing Year: 1968 Edition: 100 Size: 17.6 x 23.6 in. or 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signatures: Sheets signed and numbered by hand Comes with folio box and individual artists' presentation sheets. --------------------------------- Artists works included: RENZO VESPIGNANI "Report on the artist" Year: 1968 Medium: Lithograph in two colors Edition: 100 Size: 17.6 x 23.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: RVE_1909_01 LUCIANO DE VITA "Le cavalier inconnu" Year: 1968 Medium: Etching Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: LDV_1909_01 PIERO GUCCIONE "Images" Year: 1968 Medium: Lithograph in four colors Edition: 100 Size: 23.6 x 17.6 in. Publisher: Il Torcoliere, Rome - Italy Signed and numbered Ref: PGU_1909_01 ======================= Renzo Vespignani was an Italian painter, printmaker and illustrator. Vespignani illustrated the works of Boccaccio, Kafka and T. S. Eliot, among others. In 1956, he co-founded the magazine Citta Aperta and in 1963, co-founded the group II Pro e II Contro for neorealism in figure art. ---------------- Luciano De Vita ( Ancona , 1929 - 1992 ) was an Italian painter , engraver , set designer and lecturer . Born in Ancona, De vita arrived in Bologna in the first post-war period, after having actively participated in the Second World War and having suffered the dramatic consequences. He attended the Academy of Fine Arts and was a pupil of Giorgio Morandi. From 1962 he taught in Milan at the Brera Academy , while in 1975 he returned to Bologna where he obtained the same chair of engraving that had been Morandi's from 1930 to 1956 . De Vita also actively dedicated himself to the theater , overseeing sets and costumes for shows that were also staged at La Scala in Milan. An example is the Turandot curated by Raoul Grassilli. ---------------- Emilio Vedova (9 August 1919 – 25 October 2006) was a modern Italian painter...

Shepard Fairey Terry Hall Tribute - Musack Edition (The Specials, Operation Ivy, Fishbone, Chalkie Davies) Screenprint on heavy True White Speckletone paper Year: 2023 Size: 24x18in ...

Simon Dittrich Untitled Color Serigraph Year: 1977 Size: 21 x 14 in Edition: 1,500 Signed in the plate Publisher: HMK Fine Arts, New York COA provided Ref.: 924802-918

Bruno Bruni Melancholia Year: 1969 Serigraph Size: 29.5x24 inches Signed, numbered and dated by hand Edition: 99 Annotated verso Publisher: Il Torcoliere, Rome, Italy Printer: Böer, ...

Bruno Bruni Help Year: 1969 Serigraph Size: 29.5x24 inches Signed, numbered and dated by hand Edition: 99 Annotated verso Publisher: Il Torcoliere, Rome, Italy Printer: Böer, Hamburg...

Bruno Bruni Ritorno Year: 1969 Serigraph Size: 29.5x24 inches Signed, numbered and dated by hand Edition: 99 Annotated verso Publisher: Il Torcoliere, Rome, Italy Printer: Böer, Hamb...

Abstract Composition, Coffee Grinder Hand signed in Hebrew Lower right. limited edition. Dimensions: H 18.5" x 24.9" Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggadah, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob We...

Some People Together, 1974 Hand-signed and dated in pencil Color lithograph and screenprint Sheet 22 x 29 3/4 inches; 559 x 756 mm. Edition 110

Some People Together, 1974 Hand-signed and dated in pencil Color lithograph and screenprint Sheet 22 x 29 3/4 inches; 559 x 756 mm. Edition 110