Javier Arévalo

Hombre Pájaro (Birdman), 1995, (P/E)

1995

Francisco Toledo Caimanes I (Caymans I), not dated Lithograph Unframed dimensions: 17 x 20.5 inches Framed dimensions: 26.5 x 33 inches Edition: Estado III, VII/XIV

Francisco Toledo El Pez, 1976 Etching in colors, on Rives BFK paper Unframed dimensions: 14.87 x 11.12 inches Framed dimensions: 31 x 24 inches Edition 14/30

Arturo Rivera La jineta (The Jockey) Serigraph 33.46 x 29.52 in Edition 96 of 100 Serigraph by Mexican artist Arturo Rivera. Edition 96 of 100. Certificate of authenticity included....

Paula Valenzuela What Is Left, 2019 Giclée archival inkjet print on watercolor paper Unframed dimensions: 14 x 14 inches Framed dimensions: 17.12 x 17.12 inches Edition of 10 Limite...

Beautiful lithograph by the artist Mariano Rodriguez, representing one of his most famous topics: the Rooster. Signed and edition at the left bottom corner.

This 28" x 32" lithograph was produced by Harold Stevenson in 1988. This print features a skeletal figure and horse. The skeleton, with elongated and angular features, is centrally p...

Jacques Lipchitz The Bull and the Condor, 1962 Lithograph on Rives BFK Paper Signed in pencil and numbered 30/100 by the artist; with the blind stamp of the publisher, Tamarind Works...

Nancy Graves Original Graham Gallery poster (hand signed by Nancy Graves), 1968 Extremely rare vintage offset lithograph poster (hand signed by Nancy Graves) hand signed by Nancy Graves in pencil on the front Frame included: held in museum quality wood frame with UV plexiglass Publisher: Graham Gallery This late 1960s vintage Graham Gallery poster is hand signed by Nancy Graves on the front. It was published on the occasion of her "Camels" exhibition - a groundbreaking show in the artist's young life, as she died at age 54 of breast cancer. (People forget how brave she was, a sharp counterpoint to the style of the macho Minimalists of the era, like her ex husband Richard Serra.) The following year -- in 1969 - Nancy Graves became the first woman ever to have a solo show at the Whitney Museum. We've never seen another of these posters anywhere else in the world - let alone one hand signed by Nancy Graves. Elegantly framed in a museum quality wood frame with UV plexiglass Measurements: Frame: 17 x 17.5 x 1.5 inches Work: 10 x 10.75 inches About Nancy Graves: Nancy Graves (1940–1995) was born in Massachusetts. Her father worked as an accountant at the local Berkshire Museum, where art was displayed with natural history. He encouraged his daughter’s early interests in art, nature and anthropology — interests which endured for the rest of her life. After graduating from Vassar College with a degree in English Literature, Graves attended Yale University, where she earned both a B.A. and an M.A. in Art, studying alongside Chuck Close, Robert Mangold and Brice Marsden. Following Yale, she won a prestigious Fulbright Scholarship in 1964, and began studying painting in Paris — where she also married sculptor Richard Serra, whom she had met at Yale (and from whom she would divorce in 1970). Moving on to Florence soon after, she would live a somewhat nomadic life, spending time in countries that included Morocco, Kashmir, India, Egypt, Peru, Australia and Canada. From a point of view that she described as “objective,” Graves transformed scientific sources, such as maps and diagrams, into artworks by re-producing their complex visual information in detailed paintings and drawings. Investigating the intersections between art and scientific disciplines, Graves created compelling, formally rigorous, yet ultimately expressive works of art that examine concepts of repetition, variation, verisimilitude, and the presentation and perception of visual information. Based in SoHo, New York, Graves gained prominence in the late 1960s as a post-Minimalist artist for innovative camel, fossil, totem, and bone sculptures that were hand formed and assembled from unusual materials such as fur, burlap, canvas, plaster, latex, wax, steel, fiberglass and wood. Made in reaction to Pop and Minimalism, these works reference archaeological sites, anthropology, and natural science displays. Suspended from the ceiling or clustered directly on the floor, these early sculptures also engage with Conceptualist ideas of display. For her Whitney Museum presentation Graves exhibited three seemingly realistic sculptures of camels in an installation that evoked taxidermy specimens and questioned issues of verisimilitude in art and science, particularly in light of their hand patched and painted fur surfaces. The exhibition elicited wide spread critical responses and established her artistic significance. After intensely engaging with sculpture in the early 1970s, Graves returned to painting. Her detailed pointillist canvasses re-produced — in paint — images culled from documentary nature photographs, NASA satellite recordings, and Lunar maps...