Giovanni Vetere

Five Children

c.1980

This artwork titled "Flying Head" c.1990, is an original colors lithograph by renown Russian artist Mihail Chemiakin, b.1943. It is hand signed and numbered 173/260 in pencil by the ...

This artwork titled "Acrobats" c.1990, is an original colors lithograph by renown Russian artist Mihail Chemiakin, b.1943. It is hand signed and numbered 283/300 in pencil by the art...

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 "La Rosa" 1984 Is an original colors lithograph on Wove paper by renown Navajo artist Rudolph Carl Gorman, 1932-2005. It is hand signed, dated and numbered 29/200 in white pencil by the artist. With the blind stamp of the Publisher/printer, Houston Fine Art Press, Houston at the lower right corner. The size is 30 x 23 inches inches. It is in excellent condition, the colors are fresh and bright, Hanging tape remaining in the back across the upper sheet, and 2 small skinned area at the lower back of the sheet. all these not visible from the front. About the artist: Born in Canyon de Chelly, Arizona and raised in a hogan on the Navajo Reservation, R.C. Gorman became one of the Southwest's best known late 20th-century artists. His signature works were Navajo women in a variety of poses. Many persons have been fascinated by the fact that he, an Indian artist, became famous in the white man's world with some calling him the "Picasso of Indian artists". Of this kind of attention, he said: "I wish people would quit pushing my being Indian. The only time I was interviewed as If I were a normal person was by the Jewish Press in Tucson. It was the first time I felt international and almost white". (Samuels 222) His parents were Carl Nelson...

A superb, richly-inked impression of this extremely scarce, early lithograph. The deluxe edition of only 10 impressions hand-signed by Dubuffet. Signed and numbered 10/10 in pencil. ...

A very good impression of this color lithograph. Initialed and numbered 73/100 in pencil by Miro. Published by Sala Gaspar, Barcelona. From the same-titled suite.

"Compositione" by Marino Marini is part of the catalogue "Marino Marini Druckgraphik" Catalogue edited in 1976, Haus der Kunst Munich Book with 1 color ...

Nat Harrison Magician: Work Carefully Avoid Scrap Accidents Sometimes Happen Original poster c. 1943 Printed for HMSO by J Weiner Ltd, London for the Ministry of Aircraft Production The waste-not-want-not campaign of World War 2 in the UK had to tackle waste at all levels. Here workers in aircraft factories are encouraged to work carefully in order to avoid creating products that had to be scrapped. When Lord Beaverbrook commenced his term as Minister of Aircraft Production in May 1940 it was an industry beset with problems. Aircraft parts were produced in sufficient numbers, but assembly into flyable aircraft proved more challenging – the Castle Bromwich...