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This artwork titled "Generation Gap" c1978 is an original Cliche Verre on paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and inscribed artist proof in pencil by the artist. The image size is 8.75 x 11.75 inches, sheet size is 10.75 x 13.65 inches. It is in excellent condition, two small pieces of hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

Letter written by the artist Jean Lurcat and addressed to Nesto Giacometti. The text talks about work and printing prices. Attached is the photo of Jean Lurcat. Handsigned Jean Lu...

Juin 40 is an original Rare Book illustrated by Frans Masereel (1889 – 1972) in 1912. Original Edition. Précédé de “Fragments d’un journal de guerre 1940” de Henry de Montherlant. 1550 numbered copies. Published by Pierre Tisné, Paris. Format: Oblong 4°. The dimensions and the weight are indicative. The book includes 32 + 7 Pages with 32 Full page Lithographs. Good conditions. Frans Masereel (1889 – 1972). He was a Flemish painter and graphic artist who worked mainly in France, known especially for his woodcuts focused on political and social issues, such as war and capitalism. He completed over 40 wordless novels in his career, and among these, his greatest is generally said to be Passionate Journey. Masereel's woodcuts influenced Lynd Ward and later graphic artists such as Clifford Harper, Eric Drooker, and Otto Nückel. Masereel's woodcuts influenced Lynd Ward and later graphic artists such as George Walker, Clifford Harper, Eric Drooker, and New Yorker cartoonist Peter Arno. Masereel's woodcut series, mainly of sociocritical content and expressionistic in form, made Masereel internationally known. Among them were the wordless novels 25 Images of a Man's Passion (1918), Passionate Journey (1919), The Sun (1919), The Idea (1920), Story Without Words (1920), and Landscapes and Voices (1929). At that time Masereel also drew illustrations for famous works of world literature by Thomas Mann, Émile Zola, and Stefan Zweig.

Martin Wong, Semaphore East, New York, 1985, Announcement Card Rare original 1980s announcement card published on the occasion of Martin Wong's exhibition at Semaphore East Gallery,...

Garden Party - A delicate dance of pink, green and black. This limited edition Giclée print is a high-quality reproduction of an original artwork printed on archival paper. Hand pain...

While working on a large building project several years ago the artist, Fritz Horstman was struck by the poetry in the unfinished state of the construction site. He was drawn specifically to the space between the plywood walls that were raised as formworks for the pouring of cement. That space could only exist for a few hours before the cement truck arrived, but in that moment it was a revolving abstraction of potential, delineation, growth, and destruction. Once filled it was gone: the plywood was stripped away, the earth was backfilled. To suspend that moment he began building models of formworks. Leaving them unfilled, they are perpetually unfinished. From models based directly on architecture, Horstman expanded to forms found in the landscape. Making a formwork that depicts constraint upon the landscape is not exactly a reversal of the formwork’s function, but it asks different questions than a formwork designed for a building would. Why would you make a cement creek? What is the relationship between a flowing creek and poured cement? Is this a barrier or just delineation? For River Woman ODETTA, in addition to several small sculptures in the Flat File, Horstman will install Formwork for the East River, which describes that river’s shape as it flows from Rikers Island to the tip of Manhattan. The 3 x 18 x 7 foot sculpture...

The Hanged Man and The Hermit, Diptych, 2019 From the Ventura Series Embroidery thread on canvas Overall Frame size: 40 cm H x 60 cm W x 3 cm D Overall Image size: 27 cm H x 34 cm W Individual size: Frame size: 40 cm H x 30 cm W x 3 cm D Image size: 27 cm H x 17 cm W One of a kind Blackwood frame with plexiglass ______________ Maria Jose Franco Maldonado’s family was her art school by the hand of Georgia O`Keefe, Elaine de Kooning, Lee Krasner, Artemisia Gentileschi, Matisse, Leonor Fini, Leonora Carrington, Louise Bourgeois, Maripaz Jaramillo, Judy Chicago, Basquiat, and so many others. She then formalized her studies in art direction and advertising in Buenos Aires, Argentina. In 2015, she showed her work for the very first time in three group exhibitions around New York at Shervin's Café Gallery, Brooklyn Fire Proof Gallery, and Greenpoint Gallery. That same year her illustrations accompanied Pilar Gualco`s literary work in Buenos Aires at Fauna Estudio Taller. In 2017, she fell in love with embroidery. Slowly, she connected techniques and in the process dressed up a lot of weird humans. She showed her work in 2019 at Noches San Felipe and Open San Felipe with SGR and Bandy Bandy galleries in Bogotá, Colombia. Her series AFFAIR was shown at Noches del Millón, from Feria del Millón in Medellín, Colombia at the end of 2019. Closing 2019 she was lucky to have her own exhibition alongside Daniela Moreno, a great Colombian textile...

From an important Dallas Texas estate. This artwork is an assemblage of countless hand cut and painted paper triangles arranged to create a captivating geometric depth of field. Th...

WOJCIECH SADLEY (born in 1932) Painter, graphic and fabric artist. He studied at the Music Academy in Lublin, then at the Academy Of Fine Arts in Warsaw (where he works as a profess...

This rare and historical handwritten land deed dates back to the early 19th century and is a remarkable example of American ecclesiastical and legal history. Dated October 19th, 1832...

Jiban Biswas - Nostalgia - 36 x 48 inches (unframed size) Acrylic on Canvas, 2019 Style : According to him, “ The Mud colour are changing its shade, The ...

TYPE: Textiles, wall hanging, mixed media MEDIUM: Faux Crocodile, lace, doilies, hemp cord, faux jewels, fringe, upholstery cord, gesso, bridal beads, and sequins BRIEF STATEMENT fo...

Collage inspired by Welsh folk tales and the story of Taliesin by Robert Nye. Each panel is full of abstract imagery texture and doodles conveying a dream like language where so many...

Poppy Heads and Harbour Painting by Nicholas Turner B. 1972, 2021 Additional information: Medium: Oil on board Dimensions: 20 x 25 cm 7 7/8 x 9 7/8 in Signed, titled and dated verso...

SUSIE Q. SMITH Medium: Newspaper comics Distributed by: King Features Syndicate First Appeared: 1945 Creators: Linda and Jerry Walter 6 X 18.25 Like her contemporaries, Aggie Mack,...

Atin Basak - Untitled - 22.5 x 12 inches (unframed size) Etching on paper Inclusive of shipment in a roll form Style : Atin Basak says that his recent body of work represents the be...

Light Brown Dog Bowl, by Jeffry Mitchell, 2020 Additional information: Medium: Glazed ceramic Dimensions: 3 x 8 1/4 in About artist: Jeffry Mitchell’s primary medium is ceramic and...

Same style different execution. Italian copper leaf and fluorescent thread sewn on Splendorlux Black Gloss

Sergei Inkatov’s original, abstract fine art oil paintings have been exhibited internationally. His expressionistic artworks are vivid and richly textured. Inkatov’s paintings radiat...

Antique Italian Coral brooch. Naples.
 XIX century. Total weight 5,60gr. Size 4,2 cm FREE WORLDWIDE SHIPPING Coral engraved and carved in...

Part of a group of 3D pop up books released by a well known art publication. A very complex pop up featuring a 3D interpretation by Andreas Gursky.

In The Exhibition - Animal Fable is an original lithographs on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published b...

Fairy tale like artwork on paper depicting a little angel by Polish artist Marianna Oklejak. The cheerful cherub is holding a little bright shining star. Artwork is made out of paper...

Shpanyer Arbeit, Jewish textile ritual judaic Folk Art Estimated to the 19th century or early 20th century. there are no markings. It is a hand weaving ...

The Realm of Insects is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions...

Autograph Poscard Signed by Mario Praz to the Countess Pecci Blunt. Rome, January 31st 1936. In Italian and English. Perfectly readable, very good condition except for minor aging signs. From Udine, the Italian critic of art and literature, Mario Praz sends this postcard to the Countess Pecci-Blunt, the patron of arts and the closed-friend of artists and intellectuals, reporting the title of the recommended book. "The Renessaince of Architecture in Southern Italy, a Study of Frederick II...

This interactive installation explores the poetics of randomness and the liminal space between intentionality and observation, seeing and hearing, touching and listening. A verticall...

Margaret Putnam (1913-1989) San Antonio Artist Image Size: 8 x 10 Frame Size: 18 x 20 Medium: Gouache "The Mystery" Margaret Putnam (1913-1989) Margaret Putnam left an artistic legac...

This is a Business Card by Guido Piovene with Autograph notes in black ink. Venice, July 15th 1935. On a cardboard business card (cm 6.2 x 8.5). Excellent condition, perfecly readable, including the original envelope (cm 10.3 x 16.8). It is curious to note that the young journalist , Guido Piovene (Vicenza, 1907 - London, 1974), cancels the title of Count on this business card he sends to the Countess Pecci-Blunt. And Piovene adds heartfelt thanks and greetings by hand. The background: Four year before this correspondence, in 1931 Piovene published his first short stories in The Merry Widow, printed by the Buratti brothers. It took ten years for Piovene to publish his second work, Letters from a novice. But the Italian writer and journalist will be always remembered for his travel reportages: like "Viaggio in Italia" (1957), the most famous literary guide of the Bel Paese...

Autograph postcard written by Renato Guttuso to the Countess Anna Laetitia Pecci-Blunt. On the front, there is a black and white reproduction of a Neapolitan breathtaking landscape. ...

Autograph Happy New Year Card Signed by Afro Basaldella to the Countess Anna Laetitia.Pecci-Blunt. Rome, January 2nd 1963 . In 24°. In Italian. Excellent condition: As good as New....

The Benediction is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but ...

Autograph Card Signed by Afro Basaldella to the Countess Anna Laetitia.Pecci-Blunt. Rome, 1950's (1958-1959) . In 24°. In Italian. Excellent condition...

KAWS GONE: Complete set of 3 figures: new & unopened in their original packaging. A well-received work and variation of KAWS' large scale GONE sculpture - ...

Frogire is an original Contemporary artwork ink and collage on cardboard, realized by Sergio Barletta in the 1980s. Hand-signed in pencil on the lower right: Sergio Barletta. Titled...

Composition 7777, 2018., 95x100 cm Abstract composition. Nugzar Avtandilovich Kahiani was born in Poti, Georgia in 1952. He studied at the Art College named after Nikoladze. Then he went to serve in the Soviet Army from1970 to 1972. After completing his military service he entered the Stieglitz St. Petersburg State Academy of Art and Industry at the faculty of artistic metal, from which he graduated in 1986. During his studies, he has been actively engaged in painting. His favorite artists are Gauguin, El Greco, Botticelli, Turner and Picasso. Works of artistic stone He worked also with stone, cornelian and onyx. But his soul gravitated to bright and blustery color, and so he has became engaged in painting. At first his paintings were quiet, with muted tonal gamma. The color image was built on the play of hues and halftones. Such a careful elaboration of color educates the taste, sharpness and delicacy of vision. Gradually, the painter became more experienced, and his paintings acquired assurance and power of maturity, blooming in colorful brilliancy. Nugzar's color preferences The color of Nugzar’s paintings is deep and multi-layered. It is woven of infinite number of hues and filled with light. At first sight it may be difficult to recognize the shapes in the play of flickering color dabs. The figures appear gradually, they draw the first breath just before our eyes, crystallizing from the color heap. The painter is attracted by major tonality and motives that years ago could be called “the gallant feasts” - repasts, assiduities, music parties, and airings. After somewhat daemonic, infernal imagery of early paintings, it has appeared the theme of “Le joie de vivre,” the joy of life. Source of inspiration Born in the ancient Kolkhida, he keeps the blissful pagan feel of entirety and completeness of being. It is embodied almost literally in his favorite personage auroral gorgeous-bodied beauty of a girl. He grants these forms even to Olympian inhabitants - Aphrodite, Athene, Arthemide, let alone the Bacchants. I remember unwittingly that Niko Pirosmani similarly painted on his impoverished buckrams the luxurious prince repasts and languid, elephantine beauties. Working style But his style is not bounded by grotesque parody, as well as the irony is not the only aspect of his world outlook. In his landscapes we can catch the ecstatic admiration with Nature. In contradistinction to his favorite impressionists, he never paints from nature and never bears in mind the particular place. It is just a blooming Earth, studied very closely, so that the trees are cut by the edges of the painting, and at the same time it is a bird’s eye view revealing infinite, boundless spaces. Nougzar says that the landscape for him is first of all a color ensemble. He can just leaf through the illustrated journal, nourishing his eye with color in various combinations, and so get the impulse to create a ‘physical’ landscape image. Probably, his landscapes are no less fantastical than his figure compositions, but such is his talent, his mission - to make the world more beautiful and gentle than it is in reality. Exhibitions Nugzar Kakhiani...

Autograph Postcard signed without indication of place nor date, addressed to Countess Pecci Blunt with letter-dressing games recalling Apollinaire's calligrams and some small sketche...

Alfredo Casella Autograph Letter is an original manuscript by Alfredo Casella (25 July 1883 – 5 March 1947) an Italian composer, pianist and conductor...

This is a Happy New Year Card Signed by Virgilio Guzzi, to Silvio Perina, the director of the C.I.M, Roman warehouses, during the Seventies. Rome, Febr...

Mother is an original lithographs by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but aged. The artwork is depicted through strong strokes with perfect hatching. Jean Ignace Isidore Gérard...

Jane Peart Bluebell Woods Original Painting Acrylic on Canvas Canvas size: H 51cm x W 76cm x D 2cm sold unframed (Please note that in situ images are purely an indication of how the ...

This is the Autograph Postcard Signed by Plinio Nomellini to Beppe Guzzi. Impruneta, June 22nd 1931 - IX. One page-double-sided. In Italian. Excellent condition, except for aging signs. Informative postcard: the Italian painter of Divisionism, Plinio Nomellini is sending to Beppe Guzzi an artwork reproducing a wave for an eventual exhibition and ask him to fill in a technical form. The background: During the period of this correspondence, Beppe Guzzi (Genoa, 1902 - Rome, 1982) knows his success: from 1930 to 1954 he partecipates to 11 editions of the Venice Biennale and from the third edition 6 times at the Rome Quadriennale, being awarded during the VII edition, as well as he realizes exhibitions in Livorno. From here Guzzi calls Nomellini for a collective exhibition. Plinio Nomellini (Livorno, 1866 –Firenze, 1943) The Italian painter of the Divisionist mouvement, Plinio Nomellini, in 1885 enrolled at the Florence Academy of Fine Arts, where he was the pupil of Giovanni Fattori and formed friendships with Telemaco Signorini and Silvestro Lega...

"1940 - Number Nine" is an original mixed media on board by Tom Perkinson. His use of saturated violets, vivid yellows, and resplendent oranges pushes colo...

Autograph Card Signed by Pietro Garinei and Sandro Giovannini to their costume designer, Mara De Matteis. Around 1950s. One page, double-sided. In Ital...

This is the Business Card "M.r & M.me Paul Valéry ", with autograph notes in French. to the Countess Anna Laetitia Pecci Blunt. Original envelope included...

Ganesh Haloi - Khoai Santiniketan 11 x 15 inches (unframed size) Ink on Paper, 2021 (Unframed & Delivered) Born : In 1936 Ganesh Haloi born in Jamalpur, Mymensingh, now in Banglade...

This set is composed of Two Autographs Signed by Virgilio Guzzi, addressed to Silvio Perina, the director of the C.I.M, Roman warehouses, during the Fifties. Excellent condition, pe...

Original Title: Picasso. Dessins en noir et en couleurs. 15 Décembre 1969-12 Janvier 1971. Rare Catalogue of Pablo Picasso's exhibition held at the Louise Lei...

A unique Merry Christmas Card Signed by Dino Grandi to the Countess Pecci- Blunt, written in English and Italian. Excellent conditions. Perfectly readable, original envelope included. St. Paul, Brasil, Christmas 1958. Dino Grandi (Mordano, 1895 - Bologna, 1988) Dino Grandi was an Italian politician and diplomat, who went down in history for the presentation of the homonymous agenda to the Grand Council of Fascism on 25 July 1943 which led to the dismissal of Benito Mussolini. He was foreign minister, minister of Grace and Justice and ambassador to London of the Kingdom of Italy. In 1943 Dino Grandi moved to Spain and Portugal, where he resided until 1948. The forties were particularly hard: in Portugal he gave repetitions of Latin while his wife worked as a milliner to survive. Luck returned in the 1950s when he had representative positions for Fiat. During the same period he was a regular consultant to the US authorities, in particular to the ambassador in Rome, Clare Boothe Luce...

Autograph Happy Easter Card by Miguel Angel Ibartz to Silvio Perina. Barcelona, March 25th 1959. In Italian. Perfectly readable, excellent condition. Signed by Miguel and Maria Glo...

Memories from Marina di Pisa is an Autograph Postcard Signed by the Italian painter Giovanni Costa (Rome, 1826 – Marina di Pisa, 1903), best-known as Nino Costa, to Adele Verducci. ...

Voyeur is an original collage artwork, realized by Sergio Barletta in 1975. Hand-signed on the lower left and dated. In very good conditions. The artwork represents an interesting...

Autograph Happy New Year Card Signed and Dated by Alberto Lattuada to Maria De Matteis. Milan, December 30th 1941. 9.2 x 14 cm. In 24°. In Italian. Excelle...

Postcard from Alberto Arbasino to Contessa Pecci Blunt is an original modern artwork realized by Alberto Arbasino in 1970. A manuscript postcard written b...

Letter from Louis Marcoussis to Countess Pecci Blunt is an original manuscript. The letter is addressed to Countess Pecci Blunt and it's written from Hotel Minerva, Florence Marco...

Triptych. Grandmother's memories of love, 100x240cm

A plein air painting of Nelson White's classic yellow umbrella. A figure in the distance, and a sailboat further out in the ocean.

Hand signed and numbered. Edition of 40 prints. In good conditions, except some stains on the lower left margin. Antonio Corpora (Tunis, 1909 - Rome, 2004) was an Italian artist and...

Autograph Happy New Year Card Signed by Nicolas Nabokov to the Countess Anna Laetitia Pecci-Blunt. Paris, December 21st 1954 . In 24°. In French. Exce...

At sunset, 100x200cm, Oil, Canvas