Leticia Tarragó

"La Espera" Mexican Surreal Figurative Reptile Etching

20th Century

Warm toned mosaic style figurative abstract by Texas based artist Richard E. Fluhr. The work features a group of abstract figures broken up into a grid of twelve rectangles set against a black and white checkered background. Signed, dated, and editioned by the artist in the front lower left corner. Currently hung in a solid black frame. Dimensions Without Frame: H 41 in. x W 35 in. Artist Biography: Richard E. Fluhr was born in New York City in 1955 and moved to Texas to work as an artist. Beginning with ceramics at age 15 and showing at Ola Podrida Gallery in Dallas, he moved on to the University of Texas at Austin. Fluhr received his BFA from the University of Houston followed by an MFA in printmaking at the prestigious Cranbrook Academy of Art in Bloomfield Hills, Michigan, where he graduated magna cum laude. He traveled extensively, painting life along the way in watercolor, oil or acrylic, usually on recycled materials, such as paper bags, pamphlets, and receipts. Fluhr exhibited in six galleries in the United States and several galleries in Mexico, where he also maintained a studio in the late 1980s. His art has been shown in the U.S., Russia, and Mexico and is represented in over 900 private and public collections, including the Brooklyn Museum of Art, NY; the Cranbrook Academy of Art Museum, Bloomfield Hills, MI; the Detroit Art...

Black and white figurative abstract lithograph of two naked, crouching figures by California artist "Rico Lebrun," titled "Crouching Figures" and dated 1961. Additional writing on th...

Abstract black and white lithograph titled by the artist "Here She Is." It is edition 1 of 4 and it is signed by the artist and titled. Work is framed in a metal frame with a white m...

Vibrant abstract lithograph of a cat by artist Karel Appel in 1969. Edition of 100. Signed and dated by artist in lower right corner. Marked E.A., or "épreuve d’artiste", which is th...

Abstract lithograph with a figure clutching a pink object with an enigmatic background. The lithograph is edition 11 of 79. The piece is framed in a floating silver frame with a white backing. The artist signed and editioned the lithograph. Dimensions without Frame: H 30 in x W 22 in. Artist Biography: Scholder has always worked in series of paintings. In 1967, his new series on the Native American, depicting the "real Indian...

Monochromatic abstract figurative lithograph of the Seven Archangels. Framed and matted in a beautiful ornate gold frame. Unsigned. Dimensions With Frame: H 6.13 in. x W 8 in.

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...

Finely Detailed Abstract W/Woman Carrying a Young Child Collotype on paper Finely detailed etching or collotype of a complicated fine line drawing o...

Abstract W/Woman Carrying a Young Child Finely Detailed Collotype on paper Finely detailed etching or collotype of a complicated fine line drawing o...

"Head of Batista", a mid-century modern miniature abstract etching by California artist Richard W. Downs (American,b-1934). This delicate, small-scale etching, dated 1965, was submitted to the Seattle Art Museum for the Northwest Printmakers 36th International Exhibition. Numbered "Proof III", titled "Head of Batista", signed "RW Downs" and dated "1/65" lower edge. Submission label attached to verso for the Northwest Printmakers 36th International Exhibition 1965, with information about the artist and piece. "RW Downs / San Jose California" written on verso. Displayed in a new beige mat, unframed. Image size: 3.25"H x 3.25"W. Paper size: 6"H x 5.5"W. Mat size: 13.75"H x 11.5"W RICHARD W. DOWNS was born in Los Angeles and received a Bachelor of Arts degree from the University of California and Master of Arts from San Jose State College where he taught one year as faculty assistant. He was a member of the Drake...

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...

Hand signed and numbered on front. Limited Edition of 65. Image Size: 13 x 11 inches. Artwork is in excellent condition. Additional images are available upon request. Certificate of ...