Noche Crist

"Sitting Bull Goes To Washington"

1976

Signed color lithograph by French artist André Masson (1896-1987). Title of work is Judith and Holofernes. Work is signed and numbered 74/150 in ...

Wonderful original surreal artwork by German artist Piet Morell (b.1939). Titled in German "The Worshiper of a Beautiful Watering Can". Signed bottom right. Work is B&W pencil on ...

Silkscreen work by Noche Crist (1909- 2004). Marked in pencil 7/9 lower left. Printed in 1974 by the artist. Image is from her "Succubus Festival" series. Catalogue of a postumous re...

Silkscreen work by Noche Crist (1909- 2004). Marked in pencil 28/30 lower left. Printed in 1973 by the artist. Image is from her "Carrousel" series. Catalogue of a postumous retrospe...

Volkmar Schulz-Rumpold Title: Pumpkinhead Medium: Original Pigment Print, on handmade cotton paper Year: 2017 Signed by hand Size: 19.5 × 16.0 on 23.8 × 19.5 inches COA provided Vol...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Eagle’s Nest" is Plate Number 37, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds provides the following quote from the artist regarding this print: “The structure on the right is an architectural symbol for an eagle. It is also like a machine that is igniting the shape on the left. Below, the egg that is coming out of the chute is a child which will evolve into another architectural eagle...

copper etching with aquatint The power of memory and how it recalls individuality begins in such basic experiences as the ability to link internal ideas to external manifestations of those ideas. Memories as simple as an old toy or a street can set off a chain reaction of thoughts that snowball into issues as broad as nationalism, identity politics or a body politic to name a few. Hector Ruiz’s works encompass the broad, complex and often painful world particular to the Arizona and neighboring Mexican landscape. United States and Mexican border...

Title : Garfield, The Beauty Materials : stamps, ink, crayon,marker,pen Date : 2017 Dimensions : 8.5x11"