Mihail Chemiakin

Acrobats

c.1990

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

This artwork titled "George Inn, Norton St. Philipr" is a chromolithograph by noted British artist Cecil Charles Windsor Aldin, 1870-1935. It is hand signed at the lower left corner by the artist. With the blindstamp of the Fine Art Trade Gulid, published and printed by Eyre and Spottiswoode ltd, London. The image size is 12.75 x 15 inches, sheet size is 15 x 16.25 inches. it is in excellent condition. About the artist: Cecil Charles Windsor Aldin RBA (28 April 1870 - 6 January 1935) was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Born in Slough, he was educated at Eastbourne College and Solihull Grammar School. He studied anatomy at South Kensington and animal painting under William Frank Calderon. He lived at The Abbots, Sulhamstead Abbots from 1913 to 1914 and was church warden of St Mary's church. Early influences included Randolph Caldecott and John Leech. His drawings first made their way into print in The Building News of 12 September 1890, and began to appear throughout many popular journals and magazines; his work was published in The Graphic in 1891. His illustrations include two of the original 1894 magazine publications of stories from Rudyard Kipling's The Second Jungle Book, the 1910 edition of Charles Dickens' The Pickwick Papers and The Bunch Book (1932, about Bunch, a Sealyham Terrier) by James Douglas...

Original, linen-backed, KODAVOX original lithographic poster created by the artist Lantelme. The image features a large spool of magnetic recording tape as a face looking down on the Kodak packaging box. Bright reds and yellow in the smaller format original product poster. A fun art...

Original French poster: Camembert, E. PAILLAUD lithograph. Artist: Andre Roland. Size: 12.75" x 17.75" Archival linen backed and in excellent condition; ready to frame. The ...