André Brasilier

Femme en Rose Avec un Arbre

c. 1975

This artwork titled "Femme en Rouge" (Woman in Red) is a original color lithograph on B.F.K Rives paper by French artist Emile Bellet, born 1941 It is hand signed and numbered E.A 5...

THis artwork "Pink Lady" 1989, is an acrylograph on hand made paper by noted Mexican artist Byron Galves, 1941-2009. It is hand signed, dated and numbered 64/150 in white pencil by the artist.The artwork size is 28.5 x 15.5 inches, paper sheet size is 32 x 23.85 inches, framed size is 44 x 36 inches. Beautifully custom framed in a wooden silver frame, with dark purple backing and bevel. It is in excellent condition, the frame have some small minor restorations, barely visible. About the artist: Byron Gálvez (October 28, 1941 – October 27, 2009) was a Mexican artist who was primarily known for his painting but also created sculpture, including monumental works. He was born in rural Hidalgo state, to a father who played jazz music and read literature, a rarity in 1930s rural Mexico. However, it exposed Gálvez to culture, even though this led to an interest in visual art rather than musing or writing. He went to Mexico City to study art at both the undergraduate and graduate level, but never completed his degrees, opting instead to begin career after his coursework. Before his first individual exhibition, his work was criticized by Justino Fernández, but all of the paintings were sold in advance to foreign buyers including American actor Vincent Price, who called Gálvez a “Mexican Picasso.” Gálvez then managed to replace the forty five paintings for the exhibition in a week. Since then he had individual and collective exhibitions in Mexico, the United States and other parts of the world. He concentrated on painting, which he is better known for, in the 1970s and 1980s, but moved on to sculpture, including monumental works later in his career. Recognitions for Gálvez's work include membership in the Salón de la Plástica Mexicana, a retrospective at the Palacio de Bellas Artes and two books published about his life. Gálvez was born in Mixquiahuala, Hidalgo and described his childhood as happy, and would not have changed it. His father, Roberto Gálvez, was a farmer and merchant, who was a music and literature enthusiast, a rarity is 1930s rural Mexico. His father played the violin in the town's jazz band, which had almost all classical instruments, making it similar to bands in New Orleans. They even composed new pieces. The artist was named after Lord Byron, and his brothers, Eliot, Aníbal and Dante, after his father's reading preferences This meant that Gálvez grew up in an environment that encouraged the enjoyment of the arts. However, instead of music or literature, Gálvez stated that his earliest memories related to his attraction to art and that he always wanted to be a painter. The difficulties of farm life convinced him that he needed an education and would have to move to Mexico City in order to go to school. At age sixteen he left home for the capital to study painting at the Escuela Nacional de Artes Plásticas, not knowing what the study would entail. It was far more rigorous than he expected, with thirteen-hour school days leaving only weekends to earn money to live on.[3] He did his undergraduate studies from 1958 to 1962, then continued with the graduate courses from 1962 to 1964, specializing in painting. He did much of his studies under teachers such as Luis Nishizawa, Fernando Castro Pacheco, Francisco Moreno Capdevila, Santos Balmori, Antonio Rodríguez Luna and Antonio Ramírez. The last teacher taught him to love his studies above all else and he submitted himself to the academic rigor. This led him to become attracted to the Cubism of Picasso, and felt that the artist has opened roads which could be taken and widened. Although he specialized in painting, his interest in sculpture was also evident at this time as he was a founding member of a metal sculpture workshop at the institution along with Armando Ortega and Baltazar Martinez.[2][5] Although he completed his coursework, he did not finish the other requirements needed for the degree, instead opting to start his career. Gálvez married once to art dealer Eva Beloglovsky.The couple first met in 1973, but did not meet again until two years later, when Beloglovsky bought one of his paintings and sold two more through her art gallery. At first it was a working relationship, and then evolved into a romantic one. During their marriage, they worked on a number of projects together such as multi-media presentations and charity benefits. The couple remained together until Galvez's death. Although he began and developed much of his career in Mexico City, in his later life, the artist moved back to his rural hometown. Gálvez constructed a house and studio on the edge of a ravine in which flows the Moctezuma River. The structure has glass walls positioned for maximum light and a privileged view of a local landmark, a hill called El Elefante. Gálvez's work included painting, sculpture, etching, lithography, and drawing.[4] For Galvez, art was spiritual and disconnected with physical logic, when only aesthetics mattered. Female figures are common, and often are sensual. He work has been influenced by the Cubism of Picasso and Georges Braque, by African and Oceanic folk art and by pre-Columbian sculpture. He preferred large scale works often bigger than seven by seven feet. He painted while listening to classical, jazz and occasionally, rock music. Galvez's work experienced periods in which different artistic currents dominated including expressionism, abstract art and mixtures of the two. In his work, he tried to achieve a balance between figurative and abstract expression. The first stage of his painting was figurative expressionism, then abstract expressionism, under strong influence of Carlos Mérida, Rufino Tamaho, Santos Balmori, Kandinsky, Wifredo Lam and Picasso, along with some from classical painters such as Rembrandt and Caravaggio. Then for some time, he practiced abstract art, but then felt the need to draw human bodies again, especially female ones because he felt it allowed him better expression. Around 1980, he moved on to geometric figurativism, marked by the “Woman” exhibit at the Museum of Modern Art. This has also been describes as “pure chromatic constructivism. He considered himself primarily a sculptor and painted in that fashion. The work of Byron Galves is held in numerous corporate and private collections Galvez died at age 67 at Inglés Observatorio Hospital from a heart attack. His ashes were deposited a year after his death to the side of one of the sculptures at his home in Mixquiahuala. During his career, he exhibited individually and collectively in over sixty venues in Mexico, various cities in the United States, Europe and Latin America. In 1964, he had his first individual exhibition at the ENAP Gallery, after showing in collective exhibitions at the Palacio de Bellas Artes and private galleries along with more prominent painters such as José Chávez Morado, Alfredo Zalce, José Clemente Orozco, Diego Rivera, Carlos Orozco Romero and David Alfaro Siqueiros. Before the opening of this exhibit, his work was severely criticized by art historian Justino Fernández. Despite this, the paintings for the exhibit were bought in advance, most by American actor Vincent Price, who called Gálvez a “Mexican Picasso.” The paintings were taken out of the country one week before the exhibit, but Gálvez was not concerned about not having paintings for the show, rather he was satisfied about his work being recognized and supported.He managed to create forty five more paintings in the remaining time in order to have the exhibit. After this individual exhibit, Gálvez had over 55 more over he career, along with participated in other 75 collective exhibits. Important exhibits include the Solar 68 collective exhibition at the Palacio de Bellas Artes (1968), the Sterenberg Galleries, Chicago (1972), Eye Corporation in various US cities (1973), Polyforum Cultural Siqueiros (1978), Museo de Arte Moderno in Mexico City (1982), Harcourts Contemporary Gallery in San Francisco (1983, 1990), Art-Forum Gallery in Mexico City (1984), Bishop Gallery in Phoenix (1989), Merryl Chase Gallery in Washington, DC (1991, 1992), Suhan Galleries in San Diego (1992), Misrachi Gallery (1994) and San Francisco Theater in Pachuca (1995) .[4][2] After his death, the Secretaría de Relaciones Exteriores sponsored an exhibition of his work in Tainan, Taiwan in 2011. His works can be found in major collections in both Mexico and the United States. The strongest demand has been for his figurative work especially that produced later in his life. Gálvez also created murals and sculptures, both small and monumental. His first mural was sculpted done in 1968 in Los Angeles. However, most of his monumental work was produced later in his career as he concentrated on painting in the 1970s and 1980s. These include a mural at the National Conservatory of Music in Mexico City (1970), a thirty-foot high sculpture in Unidad Morelos in Mexico City (1971), a hand hammered copper triptych for a private residence in Mexico City (1984), a sculpted door for a private residence (1985), a sculpture for a private home in New York (1986), Reclined Torso at the Hotel Nikko Mexico (1998), Torso I a five-foot high sculpture for the city of Pachuca (1999), Torso II a nineteen foot high sculpture at the Altiva Building, Mexico City (1999), Millenium, a bronze sculpture/fountain at the highway entrance to Pachuca (2000), a sculpture garden for Mixquiahuala, Hidalgo (2005) and the master plan and central mosaic for the David Ben Gurion Cultural Park in Pachuca (2007). The park project, the last before his death, included not only the creation of the central mosaic, the largest pedestrian mural in the world at 345,000f, but also the design of the 65-acre park itself. His other activities included the teaching of drawing at his alma mater, the creation of a program for the radio ministry of Mexico in 1973, participation in a documentary about lithography in Mexico in 1980 and the creation of several special programs for the office Radio...

Artist: Georges Lambert (French, 1919-1998) Title: Femme Au Bouquet Year: Circa 1975 Medium: Color lithograph Edition: Numbered 90/275 in pencil Paper: Wove Image size: 13 x 20....

This art work titled "Femme a l'Ombrelle" 1972 is an original color lithograph on Arches paper by French artist, Jean Pierre Cassigneul, born 1935. It is hand signed and numbered 29/150 in pencil by the artist. Referenced and pictured in the artist's catalogue raisonne by Sauret plate #42. The image size is 22.25 x 16 inches, framed size is 36.15 x 28.25 inches. Custom framed in a wooden gold leaf frame, with fabric matting and gold color spacer. It is in excellent condition. About the artist: Jean-Pierre Cassigneul is a French painter known for his serene portraits of women in hats that recall the French Post-Impressionist avant-garde, including the works of Pierre Bonnard and Edouard Vuillard. He was born on July 13, 1935, in Paris. He studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, He exhibited at the Beaubourg Center in Paris in 1977 and solo as of 1952, on a regular basis in France but also in New York, and Tokyo and worldwide Jean PierreCassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. 1952 First private exhibition at the Galerie Lucy Kroge in Paris aged 17. 1954 Enters into the Académie Charpentier and then decides to study under Jean Souverbie at the Ecole des Beaux-Arts de Paris. 1955 He passes his entrance exam a year later and enrolls at the "Ecole Nationale Superieure" des Beaux-Arts de Paris. Works in Chapelain-Midy’s studio. 1958 First exhibition at the Galerie des Beaux-Arts. 1959 Appointed member of the Salon d’Automne. 1956–1960 Instructed by the French painter Roger Chapelain-Midy. 1963 Present at the Salon de la Jeune Peinture for the first time. 1964 Private exhibition at the Galerie Tivey-Faucon, Paris. Meets Kiyoshi Tamenaga, who becomes his art dealer for Japan. 1965 Creation of his first lithographic works. Exhibition at the Galerie Bellechasse, Paris. 1966 Present at the International Exhibition of Figurative Art, Tokyo. Exhibition at the Galerie Bellechasse, Paris. 1968 Exhibition at the Galerie Juarez in Palm Beach, USA. Private exhibition at la Galerie Vital, Paris. 1969 Exhibition of lithographic works at the Mitsukoshi Gallery, Tokyo. 1970 January : Exhibition at the Wally Findlay Gallery, Palm Beach, then in New York. First trip to Japan, where he stays for three months. Important private exhibition at the Mitsukoshi Gallery, Tokyo. 1973 Exhibition at the Wally Findlay Gallery in Palm Beach, then in New York. Private exhibition at the Tamenaga Gallery, Tokyo. Meets art publisher Alain Mazo. 1974 Private exhibition at the Galerie Wally Findlay, Paris, then in New York. 1975 Exhibition at the Wally Findlay Gallery, New York. 1976 Private exhibition at the Mitsukoshi Gallery, Tokyo. Publication of the album “Parcs” by Editions Mazo-Paris. 1977 June : Private exhibition at the Galerie René Kieffer, Paris Private show of paintings and pastels at the Galerie Wally Findlay, Paris. 1978 Retrospective exhibition of lithographic works at Vision Nouvelle. June-July : Exhibition at the Wally Findlay Gallery, New York. Important private showat the Mitsukoshi Gallery, Tokyo. 1980 Designs his first tapestry, executed by Atelier 3...

Nude woman with tree is an original artwork realized by French artist Jacques Busse (1922-2004) Lithograph print. Hand-signed on the lower right in pe...

Limited edition of 90 prints, numbered and hand signed.

Limited edition of 90 prints, numbered and hand signed. Excellent condition.

Pablo Picasso (1881-1973) - Jacqueline with Trees Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensio...