Ben Nicholson Art

STEPPIN OUT is a hand drawn original lithograph printed using hand lithography techniques on archival Arches printmaking paper 100% acid free. STEPPIN OUT is a highly detailed drawing printed in light sepia brown ink depicting a procession of muscular stone men walking...

Nelson Mandela, Hand of Africa, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his ...

Alexander Calder (after) Calder #1, 2001 100% silk scarf 33 × 35 inches Plate (printed) signature Unframed According to the accompanying label, in...

Leaves of Love-Orange Lady is an original signed limited edition (XXII/ XXX) lithograph by Alessandro Nastasio showing a full figured orange colored nude holding flowers in each hand standing with her bare feet on the ground. She appears to have wing like orange and green leaves surrounding her. Paper size 18.25 x 11.75 image 13 x 7.75 in very good condition. Alessandro Nastasio was born in Milan in 1934. In 1952 he followed the “free school of the nude” led by Aldo Salvatori. In 1960 he attended the Atelier of Giorgio Upilio where Giacometti, Lam, Fontana, De Chirico worked and where he had the opportunity to study the themes of the inspiring myths. He worked at the MAF foundry with the master Tullio Figini who shared the secrets of the lost wax Renaissance fusion and where he met the masters Crocetti, Manfrini, Manzu , Minguzzi, Fabbri,. He then moved on to Quinto de Stampi at the De Andreis foundry where Marino Marini, Pomodoro, Rudy Wach, Strebelle, Negri and Rosental operated. A regular reader of the great sapienzal texts of antiquity, he trained in particular on the Bible which he illustrated with woodcuts, aquatints, etchings and linocuts, especially the Song of Songs, the book of Ecclesiastes and several pages of the Gospels He also drew his inspiration from the philosophical-religious tradition of the Eastern world through the reading of Rig-Veda, Upanisad and the Matnavi of Rumi. In 1966-67 he obtained the chair at the Academy of Fine Arts of Brera and for thirty years he devoted himself to the teaching of Art Education in various schools. Nastasio created works both pictorial and plastic in collaboration with famous architects such as: Figini and Pollini, De Carli, Gardella, Faranda, Selleri, Ponti. His great talent soon came to the attention of various art dealers: first Max G...

*LIMITED TIME SUPER SALE UNTIL MAY 31ST - TAKE ADVANTAGE OF IT* Limited edition of 30 museum quality prints on CANVAS, signed and numbered by the artist. Print lead time 3 days. ...

**FINAL MONTH OF THE ANNUAL 90 DAYS SALE FOR INVENTORY RENEWAL** **PRICED EXTRA LOW TO BE SOLD BY MARCH 31ST ONLY - TAKE ADVANTAGE OF IT** The RAINBOW RAIN Series is a Oliveira clas...

Serene * Serenity Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / Abstract Art / Minimali...

Sol Lewitt The Modern Yarmulke, 2001, 2013 Mixed media leather and textile 5 1/2 in diameter 14 cm diameter Edition: unknown bears provenance stamp on the...

An amusing view of an academic wagging his finger in disapproval as a young lady in a rope seat is pulled up to a college dorm window by a group of revelling students. Thomas R...

Russian Constructivist 1920s abstract modern watercolor modernist non-objective. Vladimir Vasilievich Lebedev was active/lived in Russian Federation. He is known for figure, portrait and cubist paintings. He became famous for his exceptional illustrations of the poems of the prominent poet and translator Samuil Marshak, such as Circus, Ice Cream, Tale About a Foolish Mouse, Moustached and Striped, Book of Many Colours, Twelve Months and Luggage. As a young boy, Lebedev started to paint postcards that were sold in a shop in Saint Petersburg. At the age of nineteen, he held his first exhibit at the Academy of Fine Arts. In 1913, he began work as a cartoonist for several satirical journals, including the famed "Satirikon" (Сатирикон). At this time he was already a prolific illustrator for the children's magazines "Jackdaw" (Галчонок), "Blue Journal" (Синий Журнал), "Everyone's Journal" (Журнал для всех), and "Argus" (Аргус). He illustrated the children's book "The Lion and the Bull" in 1917. From 1920-1922, Lebedev worked for The Russian Telegraph Agency (ROSTA) and The Department of Agitation" (Agitprop) designing propaganda posters. By the 1920s, Lebedev had friendly relations with many distinguished persons of his time, such as Tatlin, Ivan Puni, Kazimir Malevich, Vladimir Mayakovsky and the literary critic Nikolay Punin. In 1915 he married the sculptor Sarra Lebedeva. In the 1920s, Lebedev had earned the title of "King of the Children's Book." A pioneer in the field of children's illustration, he would later say on the influence of his works "I still consider to have positively influenced the creation of a new Soviet book for children, and, what is more important, this book acquired a character of its own"[3] Nikolai Punin, who wrote the first monograph on Lebedev, cited Lebedev as one of the most important illustrators of the era: "After his brilliant experiments with "Circus" and "Ice Cream" and a number of other children's books executed by him, bookstores burst into color with numerous imitations of his examples, and book illustrations in the receding cultural tradition—all the 'World of Art' illustrations—paled in comparison, and, in terms of form, began to seem impotent, overly concerned with aesthetics, and unexpressive." In 1930s-1940s he created numerous portraits of his friends, professional models and sportsmen. He always was fond of playing sports himself. From the end of the 1930s he started to use stronger colours and thicker layers of paint, creating effects reminiscent of the works of Renoir. As was the case with many artists and writers working under Stalinism, Lebedev ran afoul of official censorship. The book Inside the Rainbow - Russian Children...

Bright vibrant blue, yellow lithograph in color. This is signed in the plate and dated. Dufy's abstract drawing lithograph was drawn by the artist direct on to plastic plates newly developed by Cowell's of Ipswich, and proofed under his supervision. The original edition called for 3000. I do not know how many were actually printed. The sheer logistics of the operation, the costly effort of distribution to over 4000 schools, finally ended the great adventure of the School Prints...

Signed, titled and numbered from the edition of 15. While the images have some resemblance to traditional Japanese Ukiyo-e prints, their sense of whimsy, satire and irony relate mor...