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Ethel MagafanRiding the Brahmas (Man Riding a Bull) - Signed Original 20th Century Lithograph
$2,250
£1,711.73
€2,001.54
CA$3,146.72
A$3,534.99
CHF 1,881.28
MX$43,711.49
NOK 22,923.61
SEK 22,163.85
DKK 14,929.62
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About the Item
This original modernist lithograph, titled Riding the Brahmas, is a dynamic work by esteemed Colorado artist Ethel Magafan. The lithograph depicts a dramatic scene of a man riding a bull while his companion shields himself from the animal's powerful hooves. The intense action and bold composition capture the spirit of rodeo and Western life, showcasing Magafan’s unique style and mastery of the medium. Signed, titled, and numbered by the artist in the lower margin of the print.
Ethel Magafan was known for her contributions to modernist art, and this piece is a stunning example of her ability to capture movement, emotion, and Western imagery. The lithograph is presented in a custom frame, ensuring both aesthetic appeal and protection for long-term preservation.
Provenance: Private collection, Colorado
This original lithograph by Ethel Magafan is an exceptional addition to any collection of 20th-century Western art, modernist prints, or works by notable Colorado artists.
- Creator:Ethel Magafan (1916-1993, American)
- Dimensions:Height: 20.75 in (52.71 cm)Width: 18.5 in (46.99 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:Very good vintage condition. Detailed condition report available upon request.
- Gallery Location:Denver, CO
- Reference Number:Seller: 283861stDibs: LU27315565992
Ethel Magafan
Ethel Magafan Born Illinois, 1916
Died New York, 1993 Jenne and Ethel Magafan were identical twins, born in Chicago to a Greek immigrant father and a Polish mother. Due to health concerns about their father, the family moved to Colorado, living first in Colorado Springs and then in Denver. He was a proud supporter of their artistic ambitions but died suddenly 1932, a heavy blow to both of them. They attended East High School in Denver, where they found a mentor in their art teacher Helen Perry. She had studied at the Art Institute of Chicago but had later abandoned a career as an artist, making her all the more determined to help the Magafan twins succeed artistically. While still in high school, the twins impressed artist Frank Mechau, and Helen Perry paid for their lessons with him. He subsequently invited them to apprentice with him at his Redstone studio. In 1936, Jenne won the Carter Memorial Art Scholarship and shared it with her sister so that they both could attend the Broadmoor Art Academy in Colorado Springs. Once they ran out of money, Mechau, now teaching there, hired them as assistants. Through their involvement at the Academy, the twins entered into careers as muralists, working at first with Mechau and then with Peppino Mangravite. From 1937 to 1943, Ethel was commissioned to paint her first of seven government sponsored murals. Located in the US Post Office in Auburn, Nebraska, this commission made Ethel (at age 26) the youngest artist in America to receive such an honor. Denver Art Museum director Donald J. Bear once commented that “[Ethel and Jenne's] study of local detail makes them appear as little Bruegels of ranch genre – natural and unforced.” As mural painting commissions diminished, Ethel began to do more easel painting for which she used a palette knife and tempera paints to great effect. After settling in California for five years, the twins permanently relocated to Woodstock, New York in 1945, where the sisters lived apart for the first time. Ethel developed an increasing focus within her work, particularly for horses and abstract landscapes. She met fellow artist Bruce Currie at an artist’s party, and the two were married in 1946. The twins and their husbands went to Greece and Italy for a year when Jenne’s husband and Ethel were granted Fulbright Scholarships. Upon their return, Jenne died suddenly of a cerebral hemorrhage — a loss that Ethel would mourn deeply. With her sister gone, her landscapes became much more abstract, as she sought out the feeling of the scene rather than an exact representation. During the mid-fifties, she began to make annual trips to Colorado. Her stature within the art world was solidified in 1971 when the United States ©David Cook Galleries, LLC
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