MAE Curates

Etchings - "Hollywood"

This is a beautiful very small limited edition of only 10 - screen print. This is the only piece left and it is a beautiful no. 10/10. We love this piece because it imagines the fasc...

This is a beautiful very small limited edition of only 10 - screen print. This is the only piece left and it is a beautiful no. 10/10. We love this piece because it imagines the fascinating upstairs...

Gallery curates a series of original etchings from respected European artist Cuca Romley. The pieces are very limited in terms of numbered editions left. Ms Romley is in her 90’s a...

This is an archival pigment print in a limited edition of 25, with signature and edition of artist on lower corner. The original etching upon which this print is based is available upon request. Printed 2021. 59" (H) - Limited edition of 10. 40" (H) - Limited edition of 25. Other sizes are not part of limited edition, and inquires are welcome. Alexis Portilla's large scale pieces like Anemone, Black Elk, Thor Twins, Tokyo, Chromatic Fantasy are spectacular pieces in terms of the atmospheric brushwork, colors and textures. His bold linear lines, use of symbols, pictographs and strong colors create atmospheric abstracts. Influenced by the emotion of artistic expression in music, poetry and literature, the artist finds bold expression in color, lines and shapes that resemble pictographs, and texture. Speak like a Child is a song title from a Herbie Hancock...

James Bettison Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered 38/50. Dated. Printer's and Publisher's Blind Stamp. 20...

This artwork titled "Sub Culture" c1972 is an original color lithograph on wove paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and numbered 5/10 in pencil by the artist. The image size is 17.75 x 13 inches, sheet size is 19.85 x 15 inches. It is in excellent condition, some hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

Otherness No. 5 Collograph 8.75 x 8.75 framed

Otherness No. 1 Collograph 8.75 x 8.75 framed