Benton Spruance Art

Edition of 175. 6 Colour lithograph on Somerset Velvet White 300gsm. Signed, titled and dated by the artist.

2 colour lithograph on Somerset Tub Sized Satin White 410gsm. Signed and dated by the artist, archival label on verso.

Rebecca Warren 1990 2007 Lithographic print on MDF, with pom-pom, cotton thread, wood shaving, twig, and wood chip 16 x 9 x 3 inches; 41 x 23 x 8 cm Edi...

Brice Marden Celadon Muse 2003 Two color etching / one color lithograph 22 x 30 inches; 56 x 76 cm Edition of 45 Signed, dated, and numbered in graphite (lower recto) Frame available...

Fritz Scholder (1937 2005) Walking Dog 1977 Lithograph, Edition 80/100 Hand signed "Scholder" lower right, numbered lower left. Full sheet size, 22 inches x 30 inches. Printer: Tam...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

Orange Shell is a lithograph on paper with an image size of 3.75 x 3.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fra...

Francis Bacon (British, 1909-1992) Three Studies for Self Portrait, c. 1981 Lithograph in colors on Arches wove paper Edition 81/150 with Arabic numbering. There were also 25 H.C. (...

This three-part work spanning 10 feet was printed from the plates of Francesco Clemente’s mythological landscape Untitled A on the occasion of the 1986 MoMA, New York show of Clement...

PABLO PICASSO Málaga 1881 – 1973 Mougins “Guernica” 1956 Offset lithograph on paper On the occasion of the exhibition at the Stedelijk Museum, Amsterdam, 1956 “Guernica, with 60 stu...

Published by the Royal Academy

This bold color lithograph is signed, dated and numbered in pencil by Peyton, from an edition of 350. Published by the Public Art Fund, New York.

Jasper Johns Ventriloquist, 1990 Lithograph 39 3/4 x 26 1/2 inches Edition 39 of 70 Signed The work is signed ’85 (and numbered in pencil), although it was printed in 1990. The orig...

Published by the Royal Academy

Balloon Moon is a lithograph on paper with an image size of 1.75 x 2.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fra...