These are not individually hand signed or numbered. The stated edition on the justification page is 200.
They are signed in the plate. The last two images of the title sheet and justification sheet are not included in this sale. just the one lithograph.
Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (1886–1957), was a prominent Mexican painter. His large frescoes helped establish the mural movement in Mexican and international art.
Between 1922 and 1953, Rivera painted murals in, among other places, Mexico City, Chapingo, and Cuernavaca, Mexico; and San Francisco, Detroit, and New York City, United States. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York; this was before he completed his 27-mural series known as Detroit Industry Murals.
Rivera had numerous marriages and children, including at least one natural daughter. His first child and only son died at the age of two. His third wife was fellow Mexican artist Frida Kahlo, with whom he had a volatile relationship that continued until her death. He was married a fifth time, to his agent.
Due to his importance in the country’s art history, the government of Mexico declared Rivera's works as "monumentos historicos". As of 2018, Rivera holds the record for highest price at auction for a work of Latin American art. The 1931 painting The Rivals, part of the record setting Collection of Peggy Rockefeller and David Rockefeller, sold for US$9.76 million.
His mother María del Pilar Barrientos was said to have Converso ancestry (Spanish ancestors who were forced to convert from Judaism to Catholicism in the 15th and 16th centuries). Rivera wrote in 1935: "My Jewishness is the dominant element in my life," despite never being raised practicing any Jewish faith, Rivera felt his Jewish ancestry informed his art and gave him "sympathy with the downtrodden masses". Diego was of Mexican, Spanish, Indian, African, Italian, Jewish, Russian, and Portuguese descent.
From the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to continue study in Europe by Teodoro A. Dehesa Méndez, the governor of the State of Veracruz. After arriving in Europe in 1907, Rivera first went to Madrid, Spain to study with Eduardo Chicharro.
From there he went to Paris, France, a destination for young European and American artists and writers, who settled in inexpensive flats in Montparnasse. His circle frequented La Ruche, where his Italian friend Amedeo Modigliani painted his portrait in 1914. His circle of close friends included School of Paris artists Ilya Ehrenburg, Chaim Soutine, Modigliani and his wife Jeanne Hébuterne, Max Jacob, gallery owner Léopold Zborowski, and Moise Kisling. Rivera's former lover Marie Vorobieff-Stebelska (Marevna) honored the circle in her painting Homage to Friends from Montparnasse (1962). In those years, some prominent young painters were experimenting with an art form that would later be known as Cubism, a movement led by Pablo Picasso and Georges Braque. From 1913 to 1917, Rivera enthusiastically embraced this new art style.[ Around 1917, inspired by Paul Cezanne paintings, Rivera shifted toward Post-Impressionism, using simple forms and large patches of vivid colors. His paintings began to attract attention, and he was able to display them at several exhibitions.
In his later years Rivera lived in the United States and Mexico.
In 1920, urged by Alberto J. Pani, the Mexican ambassador to France, Rivera left France and traveled through Italy studying its art, including Renaissance frescoes. In 1921 to become involved in the government sponsored Mexican mural program. The program included such Mexican artists as José Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, and the French artist Jean Charlot. In January 1922, he painted – experimentally in encaustic – his first significant mural Creation in the Bolívar Auditorium of the National Preparatory School in Mexico City while guarding himself with a pistol against right-wing students. In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers, Painters and Sculptors, and later that year he joined the Mexican Communist Party (including its Central Committee). His murals, subsequently painted in fresco only, dealt with Mexican society and reflected the country's 1910 Revolution. Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence. The mural En el Arsenal (In the Arsenal) shows on the right-hand side Tina Modotti holding an ammunition belt and facing Julio Antonio Mella, in a light hat, and Vittorio Vidali behind in a black hat. Some of Rivera's most famous murals are featured at the National School of Agriculture (Chapingo Autonomous University of Agriculture) at Chapingo near Texcoco (1925–27), in the Cortés Palace in Cuernavaca (1929–30), and the National Palace in Mexico City (1929–30, 1935).
In the autumn of 1927, Rivera went to Moscow, Soviet Union, having accepted a government invitation to take part in the celebration of the 10th anniversary of the October Revolution. The following year, while still in the Soviet Union, he met American Alfred H. Barr, Jr., who would soon become Rivera's friend and patron. Barr was the founding director of the Museum of Modern Art in New York City.
In September 1930, Rivera accepted a commission by architect Timothy L. Pflueger for two works related to his design projects in San Francisco. Rivera and Kahlo went to the city in November. Rivera painted a mural for the City Club of the San Francisco Stock Exchange for US$2,500. He also completed a fresco for the California School of Fine Art, a work that was later relocated to what is now the Diego Rivera Gallery at the San Francisco Art Institute.nDuring this period, Rivera and Kahlo worked and lived at the studio of Ralph Stackpole, who had recommended Rivera to Pflueger. Rivera met Helen Wills Moody, a notable American tennis player, who modeled for his City Club mural. In November 1931, the Museum of Modern Art in New York City mounted a retrospective exhibition of Rivera's work; Kahlo attended with him.
Rivera's assistants on one of his California murals included Thelma Johnson Streat, a pioneer African-American artist, dancer, and textile designer. That mural and its archives are now held by City College of San Francisco.