Modern Art Prints and Multiples

Jacques Villon Intimite 1964 Original Reproduction of a Gouache on Velin d'Arches Size: 10x7.375in Signed in the stone Edition: 2,000 Annotated verso Publisher: Mourlot, Paris Printer: Mourlot, Paris COA provided Notarized facsimile of the imprint showing the edition size included Framing in a simple white or black frame made from composite wood with plex and mat available for $90. Please inquiry within. Ref.: 924802-1542 Jacques Villon (July 31, 1875 – June 9, 1963), also known as Gaston Duchamp, was a French Cubist and abstract painter and printmaker. Many important museums include works by Villon in their collections, including the Fine Arts Museums of San Francisco; Minneapolis Institute of Arts; Museum of Fine Arts, Boston; Art Institute of Chicago; Columbus Museum of Art (Columbus, Ohio); Museum of Modern Art, New York City...

Salvador Dali Femmes fleurs, 1970 Color lithograph Hand signed lower right Numbered 94/150 Image size 51.5 x 66 cm Sheet size 56.5 x 76 cm Printed by Desjobert, Paris. Published by ...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 8 x 11 in Frame: 17 x 19 in Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Theo Tobiasse, After, French/Israeli (1927 - 2012) - Romeo Et Juliette Acte IV, Year: circa 1980, Medium: Poster, Image Size: 20.25 x 26.5 inches, Size: 24.75 x 30.5 in. (62.87 x 7...

Wifredo Lam Bird and Spirit Figure, 1967 Original lithograph Hand signed in pencil Numbered / 300 On Arches vellum 50 x 65 cm (c. 20 x 26 in) REFERENCE : Catalog raisonne Tonneau...

Summer Porch by Ronald Julius Christensen, American (1923–1999) Date: circa 1980 Lithograph, signed and numbered in pencil Edition Size: 150 Image Size: 21 x 30 inches Size: 25.5 x 3...

Artist: Peter Max (1937) Title: Flowers In Blue Vase III Year: 2000 Edition: 419/500, plus proofs Medium: Lithograph on archival paper Size: 12 x ...

To see our other original vintage travel posters, many of which have skiing subjects, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or sen...

Artist: Peter Max (1937) Title: Heart with Flag III Year: 2003 Edition: 440/500, plus proofs Medium: Lithograph on Lustro Saxony paper Size: 9.75 x 9.75 inches Condition: Excellent I...

Zena Kavin, 'Judgment of Souls', lithograph, c. 1935, edition 20. Signed, titled, and numbered '17/20' in pencil. A fine, richly-inked impression, on cream wove paper, with full marg...

Artist: Russell Young Title: Marilyn Portrait (Red) Portfolio: Marilyn Portrait Medium: Hand-pulled acrylic and enamel silkscreen on paper Date: 2014 Edition: 25/25 Sheet Size: 27" x...

The art "John Lennon" is Limited Edition of 25 canvas geclee prints on canvas in size 18″X24″. The print is covered by resin layer which protects the vibrancy of color pigments. Afte...

Galvanizing is an artwork realized by Renato Cenni (1906-1977) in 1970s. Original Lithograph. Hand-signed on the lower right. At the bottom a text "Galvanizing: the zinc-coated st...

Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper. Monogrammed in the plate. It belongs to the suite "Contrastes", printed by Daniel Jacomet and publi...

The reproduction titled "Natasha" is a work by the Dutch artist Corneille (Guillaume Cornelis van Beverloo), a co-founder of the CoBrA movement. Known for his vibrant and expressive ...

Salvador Dali - Apparition de Dulcinée - Original Lithograph Joseph FORET, Paris, 1957 SIGNATURE : printed in the image LIMITED : 197 copies. SIZE : 41 x 33 cm REFERENCES : Field 57...

Lithograph on grand vélin d'Arches spécial paper. Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the folio, Les Côtes Normandes 1961. Publ...

The 1967 original exhibition poster by Marc Chagall, titled "Fondation Maeght - Saint-Paul (Profil Bleu)," was created to promote Chagall's exhibition of paintings from 1947 to 1967 ...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, Picasso, Vingt-Neuf Portraits Imaginaires, 1969. Published by Éditions Cerc...

Marc Chagall Femme à l’oiseau Lithograph in colors Numbered 872/970 from the edition of 970 Signed in the plate From "Douze Contemporains" by Jacques Lassaigne and published by Editi...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Fernand Léger Woman powdering herself, 1959 Original lithograph (Atelier Mourlot) Signed with the artist's stamp Limited to 180 copies (Here numbered 160) On Arches vellum 66 x 50....

Color lithograph realized by Buffet in 1960. Hand signed in pencil lower right. Edition of 59/125; numbered in pencil. Burnishing of the sheet on edges.

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

Etching and aquatint realized by Lam in 1967. Hand signed in pencil. Artist proof printed by Giorgio Upiglio. Very good condition.

ANOTHER DAY is an original limited edition woodcut by the American painter and sculptor, Otto Neals. The woodblock used to print ANOTHER DAY was hand carved by Otto Neals and printed in shades of brown, light blue, beige, and black on archival Rives BFK printmaking paper, 100% acid-free, enhanced with hand colored accents. ANOTHER DAY is a dramatic, contemporary black couple portrait portraying a man and woman standing back to back, the woman's arm raised up and pointing in front of her. She wears a stark white, bell-sleeved dress and large teardrop shaped dangle earrings and bangle bracelet, set against a dramatic natural wood grain patterned background, a large potted plant positioned on the table in the foreground. The man dressed in a warm brown colored suit, wearing white shirt and necktie, his dignified male profile looks straight ahead to the left of the composition adding visual interest and mystery. Print size - 25 x 20 inches, unframed, mint condition, pencil signed and numbered by Otto Neals, Certificate of Authenticity provided (actual print number may vary from photo upon availability) Image size - 19.75 x 15.75 Edition size - 100, plus proofs Printer - JK Fine Art Editions Co. NJ Publisher - Mojo...

Lithograph in colors on vélin Fabriano charta ex meris pannis "ab alveo" manu fabricata, perlucidis figuris intexta paper. Paper size: 19 x 13.75 inches. Inscription: Signed in the p...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Marc Chagall, Dessins Pour La Bible, Verv...

Original title: Il Ciclista Cyclist is an original etching realized by Giuseppe Viviani in 1955. Hand signed and dated in pencil on lower right margin "G. Viviani 955", edition of 200 prints. It represents a cyclist who is riding along a tree-lined road. Very good conditions except for foxings and faded paper. - Published on “Giuseppe Viviani Catalogo Generale” cured by Silvio Guarasci Pisa, Editore Saletta d’Arte Viviani s.a.s. Pisa, p.216. Giuseppe Viviani (1898-1965) is a popular Italian artist and engraver. His figures are characterized by stylized silhouettes, big and sad eyes...

Kiyoshi Saitō (1907 – 1997) Maiko Kyoto (B) 1959, portrait of a girl facing left, with black and white obi; strong woodgrain texture background. Signature and artist’s seal lower left. Margins are covered with mat board possibly concealing title, date and edition. Visible Area: H 20.75 in. x W 15 in. Artist Biography: Kiyoshi Saito was born in Fukushima prefecture in 1907. At the age of five he moved to Otaru in Hokkaido, where he would come to serve as an apprentice to a sign painter. Saito became infatuated with art after studying drawing with Gyokusen Narita and moved to Tokyo in 1932 to study Western-style painting at the Hongo Painting Institute. He began experimenting with woodblock prints and exhibiting his works with Nihon Hanga Kyokai in 1936. Saito mainly worked in oil painting until his invitation from Tadashige Ono...

TENOR SERMON is a limited edition color lithograph by the renowned African American artist Romare Bearden(September 2, 1911 – March 12, 1988), printed on ...

Salvador Dalí­ Bird of Paradise from Hawaii: California Suite, 1973 Lithograph Image size: 55 x 39 cm Sheet size: 64 x 49.5 cm Reference: Fields 73-3A

Medium: original lithograph. Printed on Arjomari paper in 1969 at the Mourlot Freres atelier and published by Editions Richelieu in a limited edition of 2400 for the L'Odyssee portfo...

Medium: original lithograph. Printed in Paris in 1967 at the atelier of Clot, Bramsen et Georges and published in an edition of 2500 for "Les Temps Situationistes" (The Situationist ...

This artwork titled "Les Petit Rats, Ballerinas II" c.1980 is an original color lithograph on Japan paper by noted Bolivian artist Graciela Rodo Boulanger, b.1935. It is hand signed and numbered XLII/C in pencil by the artist. The image size is 22.5 x 18 inches, framed size is 36 x 30.75 inches. Custom framed in a wooden gold leaf frame, with off white matting and gold color spacer. It is in excellent condition. About the artist:   Born in La Paz, Bolivia in 1935, Graciela Rodo Boulanger was raised in an artistic environment. Her mother, a concert pianist, and her father, a businessman and art connoisseur, nurtured her talents. She studied the piano and at age 11 enrolled in the School of Fine Arts. At 17 she went to Vienna to study both art and music, and at 22 shetravelled to Argentina for the stimulating artistic environment of Buenos Aires. Continuing to study both piano and painting...

The Third Eye Open letterpress incorporates the portrait I originally made for my Make Art Not War print back during the Iraq War. This print image also includes a third eye blooming like a flower, I believe that what the third eye represents: a dialogue with one’s inner self, higher consciousness...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Old Age (Alter) is an artwork realized by Salvador Dalì.  Lithograph on Arches-Velin (watermark), 1973. Signed and numbered. 235/300. From the suite "Edades...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Medium: pochoir (after the lithograph). Printed in New York by Esther Gentle and published in 1947 for a portfolio issued by the Museum of Modern Art in an edition of 2000. The image...

Medium: pochoir (after the watercolor). Printed in 1924 and published in Paris by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscriptio...

Limited edition woodblock print in colors seated in a black metal frame behind glass with a front profile of 1/4 inch and a side profile of 1 1/4 inch. Hand signed and numbered out o...

This Blue Dog work consists of a blue dog Sitting on a desert-like earthy colored background with cacti and a moon in the background. The dog has soulful yellow eyes. This pop art ...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Le Chien aboyant a la lune from «Verve», Vol. VII, nn. 27/28 Year: 1952 Medium: Lithograph, signed in the plate Size: 14.5 x 21 in. (3...

Medium: original lithograph. Printed in 1952 for the art revue Verve (Volume 7, Number 27-28) and published in Paris by Teriade. Size: 13 7/8 x 10 3/8 inches (352 x 263 mm). There is...

Jean Jansem (1920-2013) Solange de dos, 1990 Lithographie sur papier Japon Signée en bas à droite et justifiée en bas à gauche 45,5 x 65 cm / 54 x 76 cm Bibliographie: Imprimeur:...

Signed, titled and numbered by the artist from the edition of 76. Artist and community activist Leo Límon lives and works in Los Angeles, where he was born ...

Theo Tobiasse (1927 - 2012 ) Title Des Hommes Arrivent du Fond de leur Passe Lithograph 1968 edition E. A. ( artist proof ) size 17.50 x 23.50 condition good Des Hommes Arriv...

ARTIST: Salvador Dali TITLE: Triumph of The Sea MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Sidney Lucas, New York EDITION NUMBER: 12...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

ANTON REFREGIER (1905 – 1979) DISCOVERY OF GOLD, 1949. Color serigraph. Signed and numbered in pencil, edition of 90. Image 23 ¼ x 21 ¾" Large sheet, 29 3/4 x 25 ¼”. Printed title...

Paper Size: 31.5 x 23.75 inches ( 80.01 x 60.325 cm ) Image Size: 26 x 18.75 inches ( 66.04 x 47.625 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addi...

Manuel Rodriguez Jr., Filipino (1942 - ) - Treasure Island III, Medium: Monoprint and Mixed Media on BFK Rives, signed and titled in pencil, Editio...

Skulls (FS.II.157) is a screenprint on paper with an image size of 30 x 40 inches, signed 'Andy Warhol' and annotated lower left. From the edition of 60, numbered 36/50 (there were also 10 APs), and framed in a custom, closed-corner, gold-leaf frame. Catalogue - Feldman Schellmann, #157 (II.157 Skulls 1976) Andy Warhol’s Skulls from 1976 are part of the transition he began initially in 1972 with the Mao series – incorporating hand-drawn lines into the image – and with Ladies and Gentlemen and Mick Jagger in 1975 where he began the print process with his own photographs rather than appropriated ones. Additionally, in the 1975 prints, he began using collaged elements – torn paper, photographic elements, etc. Donna de Salvo writes about the Skulls series, “Skulls (II.157 – 160) lies somewhere between the genres of still life and portraiture and is based on a photograph of a skull taken by Warhol’s studio assistant, Ronnie Cutrone. The theme of skulls became a major preoccupation for Warhol, and he produced numerous versions of it in paintings. In this image, Warhol combined all three pictorial forms...

Romare Bearden: 1911-1998. Very important and well listed African American artist with auction records over $770,000. He has an auction high over $31,000 for a single print. This imp...

Salvador Dalí­ Pegasus from The Mythology suite, 1960-1964 Etching and engraving with color aquatint. Hand Signed lower right Numbered 28/150 Image size: 52 x 61 cm Sheet size: 55...