(after) Pablo Picasso More Art

Herve Telemaque Untitled Composition (Poligrafa, Redfern, French Modern Art) from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edi...

A dynamic Modern lithograph of a sailing regatta in Martha's Vineyard, "Afternoon Race, Edgartown", by notable Chicago artist, Francis Chapin. Image size: 14 1/2" x 19 3/4". Archi...

The Old Lyme Congregational Church located on Ferry Road, a quintessentially New England landmark, was captured by Walter DuBois Richards. The church was a favorite subject of Old Ly...

Original First Day Cover (FDC) issued by the US Post Office, and postmarked with a dateline of Washington, D.C. on December 2, 1964. Hand signed in black ink by Jasper Johns The FDC ...

Original Lithograph by Jean Cocteau Title: The Kiss Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumbered as issued

1970s Pair of black and white important numbered and signed etching. Japan 1973. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by S...

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

"Hardly" is a captivating poster featuring the artwork of renowned artist Wassily Kandinsky. Published by Art Unlimited in Holland for the Museum Boymans-van Beuningen in Rotterdam, ...

This artwork titled "Generation Gap" c1978 is an original Cliche Verre on paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and inscribed artist proof in pencil by the artist. The image size is 8.75 x 11.75 inches, sheet size is 10.75 x 13.65 inches. It is in excellent condition, two small pieces of hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

These hand signed lithograph prints were only made available to "HOLDERS" of the Currency prints. Less than 1000 were hand signed by Damien Hirst a...

A rare Judaic memorial piece for mother.

Lithograph on wove paper, 1972. Signed by the artist in pencil, lower right. Inscribed "Ed. 250" in pencil, lower left. Published by Associated American Artists, New York. Catalog...