Arthur Secunda

Sister Mary Corita Kent Sister Corita hand signed poster, 1985 Offset Lithograph Signed in pencil by the artist on the lower right 24 x 18 inches Unframed This offset lithograph post...

Abstract black, white and tan print of interior scene with dots, lines, shadow and painted brushstroke texture. Ideal for display in minimalist, modern and contemporary spaces. While British pop artists such as David Hockney and Patrick Caulfield numbered amongst Howard Hodgkin's circle of friends, Hodgkin's work is painterly, expressionist, and abstract. Late Afternoon in the Museum of Modern Art by Howard Hodgkin. Soft-ground etching on buff BFK Rives mould-made paper. Edition 100: this impression 36/100. Signed by the artist, numbered 36/100, and dated 79 lower center in red crayon. Printed from the same plate as Early Evening in the Museum of Modern Art. Published by Petersburg Press. This print depicts an abstracted scene, perhaps a sculpture in front of a window in the Museum of Modern Art, Oxford, in Hodgkin's signature painterly style. The expressive mark-making in this print is an example of the artist’s movement in the late 70s towards pronounced gestures. Hodgkin used his hand as a mark-making tool, combining these textures with loose and urgent brushwork. Howard Hodgkin was introduced to the etching technique used in Late Afternoon in the Museum of Modern Art at Petersburg Press, where this print was produced and where he would become a long-time collaborator. This technique allowed him to work fluidly and spontaneously, creating the moody interior scenes that mark Hodgkin’s work from the late 70s and early 80s. Part of a series of four prints reflecting on a visit to the Museum...

Artist: Roy Lichtenstein (American, 1923-1997) Title: "Modern Print" *Numbered, signed, and dated by Lichtenstein in pencil lower right Year: 1971 Medium: Original Lithograph and Scr...

Edition of 150 104.1 x 71.7 cms (41 x 28 1/4 ins)

Artist: Dale Chihuly (1941) Title: Composition, Float Series Year: 2017 Medium: Silkscreen and acrylic on Waterford paper Edition: 18/110 Size: 37 x 25 inches Inscription: Signed and...

Untitled (Surrealist Composiition) Lithograph with hand coloring, 1945 Signed and dated lower right (see photo) Numbered 10/12 lower left (see photo) fragment from 6X litho In 1945, ...

CORITA KENT (Sister Mary Corita) 1918–1986 WORKING ON IT INCESSANTLY, ca. 1970 Color serigraph. Signed and numbered in ink 200/. In generally good condition. Image 22 3/8 x 11 1/2, sheet 23 x 12 1/4 inches. Provenance: Marjorie Kauffman Graphics on original period label. Sister Corita is highly important in the development of modern use of serigraphy with highly charged social and political content expressed in strong colors and dynamic composition. She often made biblical and well as literary references as a major part of the composition. She taught printmaking at Immaculate Heart...

Untitled (Martha Jackson Gallery Poster) Lithograph, 1960 Signed and dated in red crayon by the artist Edition 90 (63/90) 1st state before letters for the poster created for the Martha Jackson Gallery, Ting Exhibition, April 23-May 31, 1960 Printed on wove paper with a ”JAPAN' watermark Edition: 90 Provenance: Martha Jackson Gallery, New York Anderson Gallery David K. Anderson Collection (label) Walasse Ting (Chinese: 丁雄泉, 13 October 1929 – May 17, 2010)[1] was a Chinese-American visual artist and poet. His colorful paintings have attracted critical admiration and a popular following. Common subjects include nude women and cats, birds and other animals. He was born on 13 October 1929 in Shanghai, left China in 1946 and lived for a while in Hong Kong, then settled in Paris in 1952.[2] There, he associated with artists such as Karel Appel, Asger Jorn, and Pierre Alechinsky, members of the avant-garde group CoBrA. Ting started his career as an artist in Paris in the 1950s, where he became friends with artists such as Sam Francis and Pierre Alechinsky. His early works were influenced by the CoBrA group, a European art movement known for its use of expressive, childlike imagery. In the 1960s, Ting moved to New York City and became associated with the Pop Art movement. Ting is perhaps best known for his series of paintings featuring women, which he called "Cat Women...

Color offset lithograph. Signed and dated in felt-tip pen and pink ink, lower right. Published by Tony Shafrazi Gallery, New York.

Derriere Le Miroir-No. 190-Page 14-15 Color lithograph, 1971 Unsigned (as issued) From: Derriere Le Miroir, No. 190, 1971 Publisher: Aime Maeght, Paris Printer: L’Imprimerie Arts, Pa...

Homme couche et femme accroupie Lithograph on Arches paper, 1956 Signature stamp lower right )see photo) Annotated in pencil lower left: "epreuve d'artiste" (see p[hoto) Edition: 50...

Double Personage Color lithograph, 1975 (?) Unsigned (as issued) Edition: Large Edition Limited, (estimated to be approximately 2000) Published in: XXe Siecle, No. 52, Juin 1979 Published: G. di San Lazzaro Printer: Mourlot Imprimeur, Paris, France Reference: Lam-Tonneau-Ryckelynck L7513 Condition: Excellent, fresh colors Traces of glue residue along margin edge where it was bound in the book Image/sheet size: 12 1/4 x 9 1/4 inches Wilfredo Lam (1902-1982) Biography Wifredo Lam was born in Sagua la Grande, Cuba, on December 8, 1902. He was the eighth child born to Lam-Yam―born in Canton around 1820, an immigrant to the Americas in 1860―and to Ana Serafina Catilla―born in 1862 in Cuba of mixed African and Spanish ancestry. The luxuriant nature of Sagua la Grande had a strong impact on Lam from early childhood. One night in 1907, he was startled by the strange shadows cast on the wall of his bedroom of a bat in flight. He often recounted the incident as his first magnificent awakening to another dimension to existence. In 1916, Lam and part of his family settled in Havana. He was enrolled in the Escuela Profesional de Pintura y Escultura, Academia de San Alejandro, where he remained a student until 1923. This period, with exhibitions at the Salón de Bellas artes, was determinant in his choice to become a painter. In 1923, the municipality of Sagua la Grande awarded him a grant to study in Europe and by the autumn of that year, at the age of twenty-one, he left the country for Spain. His time in Spain―initially intended as a short stay on his way to Paris―lasted 14 years. In Madrid, he was exposed to the ideas and movements of modern art. He spent long hours at the Archeological Museum and the Prado. He studied the great masters of Spanish painting, Velázquez and Goya, but felt particularly drawn to the works of Bosch and Bruegel the Elder. In 1931, his first wife, Eva (Sébastiana Piriz) and their son Wilfredo Victor died of tuberculosis. The terrible suffering he endured led to numerous paintings of mother and child. Lam found solace in the company of his Spanish friends and made contact with several political organizations. In 1936, with the help of his friend Faustino Cordón, he joined the Republican forces in their fight against Franco. He designed anti-Fascist posters and took part in the struggle by working in a munitions factory. The violence of the struggle inspired his painting La Guerra Civil. In 1938, Lam left Spain for Paris. Shortly before leaving, he met Helena Holzer, who would become his wife in 1944. His meeting Picasso in his studio on the Rue des Grands Augustins proved decisive. Picasso introduced his new “cousin” to his painter, poet and art critic friends, Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos. Lam also met Pierre Loeb, the owner of the Galerie Pierre in Paris, which hosted Lam’s first solo exhibition in 1939. Shortly before the Germans arrived, Lam left Paris for Bordeaux and then Marseille, where many of his friends, for the most part surrealists, had gathered around André Breton in the Villa Air Bel: Pierre Mabille, René Char, Max Ernst, Victor Brauner, Oscar Domínguez, André Masson, Benjamin Péret. In the Villa Air Bel, a meeting place for creativity and experimentation, Lam worked and produced, most notably, a series of ink drawings that set the tone for what would become his signature style of hybrid figures, a vocabulary he would develop more fully during his years in Cuba from 1941 to 1947. In January and February 1941, Lam illustrated Breton’s poem Fata Morgana which was censored by the Vichy government. On March 25, Lam and Helena Holzer embarked on the “Capitaine Paul Lemerle” headed for Martinique, in the company of some 300 other artists and intellectuals―André Breton and Claude Lévi-Strauss among them. Upon arrival, the passengers were interred at Trois Îles. It was during this forced passage in Martinique and before leaving for Cuba that Lam and Aimé Césaire met for the first time to become life-long friends. Newly settled in his native land after almost twenty years, Lam delved deeper into his artistic investigations, finding nourishment for his ideas in the surroundings of his childhood and youth. His sister Eloisa, whom he was closest to, explained to him in much detail the workings of Afro-Cuban rituals and he began attending ritual ceremonies with some of his friends. This contact with Afro-Cuban culture brought new impetus to his art. He painted over one hundred canvases, most notably La Jungla, making the year 1942 his most productive of this period. Over the next few years, a number of exhibitions followed in the United States, at the Institute of Modern Art of Boston, at the MoMA of New York, at the Galerie Pierre Matisse, where La Jungla was presented and created a scandal. In 1946, Lam and Helena travel to Haiti and attend voodoo ceremonies in the company of Pierre Mabille and André Breton. Talking about his experience in Haiti, Lam said, “It is often assumed that my work took its final form in Haiti, but my stay there, like the trips I made to Venezuela, Colombia or to the Brazilian Mato Grosso only broadened its scope. I could have been a good painter from the School of Paris, but I felt like a snail out of its shell. What really broadened my painting is the presence of African poetry.” Picasso_Lam_Vallauris_1954_vignette Wifredo Lam et Pablo Picasso, Vallauris, 1954 Lam then went on to New York where he renewed contact with Marcel Duchamp and made new acquaintances: Jeanne Reynal, James Johnson Sweeney, Arshile Gorky, John Cage, Roger Wilcox, Mercedes Matter, Ian Hugo, Jesse Fernández, John Cage, Sonia Sekula and Yves Tanguy. By the end of the 1940s, Lam divided his time between Europe, Havana and New York, where they stayed with Pierre and Teeny Matisse...