Bernard Buffet

The Sword Swallower

1968

Lithograph, 1951 Handsigned by the artist in pencil and numbered 104/200 Publisher : La Guilde de la Gravure, Paris-Genève Catalog : Passeron 29 38.00 cm. x 57.00 cm. 14.96 in. x 22...

Lithograph, 1967 Handsigned by the artist in pencil and numbered 42/70 Printer : Atelier Clot Bramsen et Georges, Paris Catalog : Rivière 42 48.00 cm. x 66.00 cm. 18.9 in. x 25.98 i...

Lithograph, 1957 Handsigned by the artist in pencil and annoted HC Publisher : Le musée de Poche (Paris) Printer : Jean Pons (Paris) Catalog : Polieri, 1746 50.50 cm. x 66.00 cm. 19...

Lithograph, 1953 Handsigned by the artist in pencil Artist proof 50.00 cm. x 65.00 cm. 19.69 in. x 25.59 in. (paper) 40.00 cm. x 53.00 cm. 15.75 in. x 20.87 in. (image) Yellowed p...

Joan Miró Untitled from Je traville comme un jardinier 1963 Original lithograph in colors on Rives vellum paper 16 x 13 inches Hand signed in pencil From an edition of 5 H.C. copies...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. Many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U.S. as the state of Oklahoma, Smith’s parents, who were of Cherokee ancestry, raised him with both a strong sense of his heritage and an abiding respect for the land. Art would eventually draw Smith to New York where he would quickly embrace elements of geometric abstraction in his work. Many of Smith’s hard-edge compositions could be viewed as distillations of imagery drawn from the Oklahoma landscape...