Beniamino Bufano

Balinese Mother and Child

1970

This Artwork Titlled "Hellas" 1974 is an original color etching and aquatint on Arches paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 26/50 in pencil by the artist. The plate mark (image) size is 17.5 x 22.75 inches, sheet size is 22 x 29.85 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

This Artwork Titlled "Last Year at Marraketch" 1972 is an original color etching and aquatint on B.F.K Rives paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 3/40 in pencil by the artist. The plate mark (image) size is 15.25 x 19.5 inches, sheet size is 21.75 x 29.65 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

This artwork titled "La Negra (The Black Woman)" from the suite "The Mujeres File" 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 numbered 150/150 in pencil by the artist. The image size is 26.85 x 21.25 inches, sheet size is 29.5 x 22.15 inches, framed size is 42 x 35 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #109 page 107. Custom framed in a wooden silver frame, with silver 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 "Torso de Joven (Torso de Jeune Fille)" from the suite "The Mujeres File" 1969 is an original colors lithograph on Wove paper by renown Mexican artist Rufino Tama...

This artwork titled "Torso de Mujer (Torso de Femmee)" from the suite "The Mujeres File" 1969 is an original colors lithograph on Wove 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 26.85 x 21 inches, framed size is 40.75 x 33 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #108 page 107. Custom framed in a wooden gold frame, with gold bevel and light beige 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...

This artwork "Deux Femmes Nues" 1979 is an original color lithograph by noted Belgian artist Guillaume Cornelis Van Beverloo, A.K.A. Corneille, 1922-2...

Benton Spruance, 'Girl with Hands to Face', two-color lithograph, 1940, edition 30, Fine and Looney 180. Signed, titled, and annotated 'Ed. 30' in pencil. A superb impression, on cr...

Boris Lovet-Lorski, Untitled (Nude with Horse), lithograph, edition 250, 1929. Signed and numbered 10 in pencil. Number 10 of Volume 1, a series of 10 ...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Boris Lovet-Lorski, Untitled (Rendez-Vous), lithograph, edition 250, 1929. Signed in pencil. Signed in the stone, lower right. From a suite of 10 lithographs published by the artist ...

Boris Lovet-Lorski, Untitled (Presence), lithograph, edition 250, 1929. Signed in pencil. From a suite of 10 lithographs published by the artist and printed by Ad. Braun & Co., Paris...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...