Alejo Vidal-Quadras

Just Marilyn - Lithograph by Alejo Vidal-Quadras - 1960s

1960s

The Couple is a beautiful colored lithograph realized by Stefania Guidi in 1993. Hand-signed in pencil on the lower right margin. Dated on the lower right. Numbered on the lower left. Edition of 150. Very Good conditions. Stefania Guid i (Rome, 1929) belongs to the Marche family of the Marquises Guidi Giovanissima. In 1958, she had her first personal exhibition of sculptures and drawings at the Giosi gallery in Via del Babbuino in Rome. She married the musician and composer Michele Paradiso on 1 July 1978 in Campidoglio. From 1956 to 2014, the work of Stefania Guidi was expressed in various techniques and materials with great craftsmanship. She made 192 etchings on copper and zinc; 40 lithographs on stone...

Geisha is an original artwork realized by Bob Paulson during the 1970s. The technique used by the artist is lithograph, retouchè. Good condition. Artist Proof, Hand signed. Edito...

Japanese Rites is an original artwork realized by Bob Paulson during the 1970s. The technique used by the artist is lithograph, retouchè. Good condition. Artist Proof, Hand signed...

Poppea is an original lithograph realized by Tono Zancanaro in 1981. Hand-signed.

Geisha is an original artwork realized by Bob Paulson during the 1970s. The technique used by the artist is lithograph, retouchè. Good condition. Artist Proof, Hand signed. Edito...

Old Japan is an original artwork realized by Bob Paulson during the 1970s. The technique used by the artist is lithograph, retouchè. Good condition. Artist Proof, Hand signed. E...

Additional Information: Provenance: Private Collection, Palm Beach, Florida Marking(s); notes: signed; ed. 23/100; 1980 Country of origin; materials: USA; lithograph Dimensions: 3...

Image 12.5 x 19 in. / 32 x 48 cm Paper 28 x 38 in. / 72 x 98 cm Lithograph on smooth, handmade white paper, with pale yellow watercolor border. Edition 30: this impression 22/30...

This large scale minimalist black and white zen cliff landscape features Buddhas with mudra hands in India. Deities in the lotus yoga position with flo...

This print depicts a baseball game mid-play. An umpire crouches with his hand up, and the batter stands poised. In the lower right, spectators peer onto the field. The awning of the stadium, silhouetted in black, cuts lines across the top of the composition, rising over a hillside crowded with homes. This finely-drawn lithograph features Zalopany's characteristic mastery of light and shadow, from the delicate texture of the field, to the spectators backlit in shadow. The composition of Baseball Game was taken from a page in an old picture book, depicting a downtown section of Caracas, Venezuela that is home to a number of Art Deco buildings, all built in the 1950's. Found images are a regular inspiration for Zalopany's large-scale realism. This print calls additionally on Zalopany's regular depiction of nature contrasted with the man-made: here, a behemoth stadium rises beside rolling hills, themselves punctuated with more buildings than trees. This contrast is enhanced by the use of textured, delicate handmade paper, which lends warmth to this dramatic black-and-white drawing. Image 37.5 x 28 in. / 95.25 x 71.2 cm. Paper 51 x 36 in. / 131 x 93 cm. Lithograph on Korean kozo paper. Edition 70. Signed by the artist lower right in pencil, numbered lower center in pencil. Born in 1955 in Detroit Michigan, Michele Zalopany is a contemporary American artist best known for her large-scale watercolor and pastel paintings based on photographs found in digital picture collections, old books, and flea markets, etc. Found photographs and film screen shots that had originally served other purposes -- family snapshots, police photos...

This print depicts a baseball game mid-play. An umpire crouches with his hand up, and the batter stands poised. In the lower right, spectators peer onto ...

With Josh Crumpler on the design and layout, the team sought to give issue its own stamp – “to really give a sense of who the artist is,” says Milo. In this sense, they wanted to distinguish how Harland was “very carefree” and how he had a “slightly punk” attitude on life, but also how his was was notably concise. “It was about bringing together those elements,” continues Milo. “He is pleased with how it came out so that was a big plus.” Upon deciding on the aesthetic and feel of the magazine, Milo goes on to explain how they pulled many cues from postmodernism. Especially that of mixed-media, and how, with Harland producing his own self-portrait to be included in the issue, they wanted to juxtapose the photograph with a handwritten Q&A. “Harland’s work merges a love of pop culture, abstract expressionism and wordplay,” says Milo, “so the combination of these styles really fit the mould and influenced the design of Plaster.” This conception effortlessly rings out from the magazine, with what Milo describes as “clashing Herb Lubalin...