Chaïm Goldberg Prints and Multiples

"Labor in a Diesel Plant" Machine Age American Scene Industrial Mid 20th Century Letterio Calapai (American 1902-1993) ''Labor in A Diesel Plant'' Wood engraving, 1940 17 x 10 1/2...

JOHN LENNON & YOKO ONO (1940-1980) 1970 “EroticNumber #5” Pencil Signed John Lennon Lower right Numbered H.C. XXXV1/VL 23 x 30 inches Image size 33x40 inches with frame Original COA ...

Lumber Workers (Cuidad del Carmen, State of Campeche) Color lithograph on wove paper, c. 1945 Signed lower right in pencil From: Mexican Art - A Portfolio of Mexican People and Places Edition: 250 Published by Associated American Artist and Taller Grafica de Popular (TGP) This print is one of two supplemental color lithographs from a portfolio of ten black-and-white lithographs showing images of Mexican people engaged in daily activities, primarily labor and crafting, by ten different mid-century Mexican political printmakers and members of the Taller de Gráfica Popular print collective, printed on cream wove paper, each signed in pencil at lower right. This image depicts the lumber industry in Campeche, one of the 31 states, located in Southeast Mexico, it is bordered by the states of Tabasco to the south west, Yucatán to the north east, and Quintana Roo to the east, and to the southeast by the Orange Walk district of Belize. Campeche was part of the province of Yucatán but split off in the mid-19th century, mostly due to political friction with city of Mérida. Today, much of the state’s economic comeback is due to the finding of petroleum offshore in the 1970s, which has made the coastal cities of Campeche and Ciudad del Carmen important economic centers. The state has important Mayan and colonial sites but they are not as well known or visited as others in the Yucatán. (Courtesy Annex Galleries) Condition: Excellent Slight toning around the sheet edges Image size: 11 3/8 x 14 1/8 inches Sheet size: 15 x 17 3/4 inches Reference: AAA Index 928 Alfredo Zalce Torres (12 January 1908 – 19 January 2003) was a Mexican artist and contemporary of Diego Rivera, David Siqueiros and other better-known muralists. He worked principally as a painter, sculptor, and engraver, also taught, and was involved in the foundation of a number of institutions of culture and education. He is perhaps best known for his mural painting, typically imbued with ”fervent social criticism”. He is acclaimed as the first artist to borrow the traditional material of coloured cement as the medium for a ”modern work of art”. Publicity-shy, he is said to have turned down Mexico's Premio Nacional de Ciencias y Artes before finally accepting it in 2001. Before his death, Sotheby's described him as ”the most important living Mexican artist up to date”. Early life A number of episodes from his childhood have been used to cast light on his future artistic career. Born in Pátzcuaro, Michoacán in 1908, as an infant he lived in Tacubaya during the Mexican Revolution; his school was near where the rival forces of Victoriano Huerta and Emiliano Zapata met in battle. One day he saw a dead body; he says that instead of fear his attitude was that of contemplation. According to a friend and prominent collector of his works, the young Alfredo began to draw aged six or seven, but chose to do so upon the linoleum floor of his home; nevertheless both his parents praised him. While at primary school, he regularly drew on the blackboard to accompany his teachers and illustrate their lessons, as encouragement to his fellow pupils. Between 1924 and 1927 he studied at the Escuela Nacional de Artes Plásticas in Mexico City, where formative influences included Mateo Saldaña, Germán Gedovius and Diego Rivera.[3] He was soon on friendly terms with Diego Rivera as well as Rufino Tamayo, David Siqueiros, José Clemente Orozco and Frida Kahlo. As the oldest of three children, he took responsibility for the family after the death of his father; while a student, he studied in the mornings and worked in the afternoons so as to be able to provide financial support. He undertook further studies at the Escuela de Talla Directa and the Taller de Litografía of Emilio Amero. Career Much of Zalce's career was spent in teaching and cultural activities. He first went to Zacatecas to teach art but, since the Cristero War had ended only shortly before, the school was not permitted to operate owing to lingering political tensions. He taught drawing at various primary schools for the Secretariat of Education from 1932 to 1935. In 1944, he became a teacher at the La Esmeralda and Escuela Nacional de Artes Plásticas. He moved to Morelia in 1950 and became the director of the Escuela de Pintura y Escultura. He also worked as a professor at the Universidad Autónoma de Nuevo León and the Escuela Popular de Bellas Artes.[3] Besides teaching, he illustrated books with academic and social themes. He was a founder or cofounder of the Escuela de Pintura of Tabasco, the Taller de Gráfica Popular, the Escuela de Pintura of Taxco in Guerrero, the Taller de Artes Plásticas in Uruapan and the Escuela de Pintura y Artesanías in Morelia. He was also a founder of the Liga de Escritores y Artistas Revolucionarios in 1933; one of its first missions was to oppose the favourable attitude at the time of many in Mexico towards Adolf Hitler. In 1930, he created a mural for the primary school in Ayotla, State of Mexico. In 1932, he worked in ”fresco” at the Escuela para Mujeres in Mexico City. He painted murals in the former Talleres Gráficos de la Nación in 1936; again in collaboration with Leopoldo Méndez at the Escuela Normal de Puebla in 1938; and at the Palacio de Gobierno and the Cámera de Diputados in Michoacán with Ángel Bracho...

Mayan Trio Lithograph, 1950 Signed in pencil lower right (see photo) Edition 250 for Associated American Artists Publsihed 1950 Reference: AAA Cat.: 1950‑05; 1958‑01 AAA Index 1087 Condition: Excellent Image size: 13 x 9 1/2 inches Francisco Dosamantes (b. October 4, 1911 - d. July 18.1986) was a Mexican artist and educator who is best known for is educational illustrations and graphic work against fascism. He was a founding member of the Taller de Gráfica Popular and the Salón de la Plástica Mexicana. Life Francisco Dosamantes was born in Mexico City on October 4, 1911. His father was Daniel Dosamantes who was a builder, interior decorator and painter. He was not registered into the civil registry until he was about twenty years old on March 6, 1939. His mother’s name is not listed on the certificate. As a child, he demonstrated a strong interest in drawing and color, influenced by his father and his uncle Juan. The Mexican Revolution occurred while he was a young child and he stated that he remembered events such as soldiers on horses charging as well as the execution of rural farm workers. He attended primary and high school in Mexico City but stated that his education was irregular and deficient. He then entered the Escuela Nacional de Artes Plásticas, where he studied for five years. Initially, however, he was disappointed with the inexperience of the young professors and he left for a short time to study on his own. During this time, some of the dissatisfied professors organized the 30 30 group against the academic system of the school and which whom he sympathized. The effort gained the attention of established artists such as Diego Rivera who intervened. He died on Mexico City on July 18, 1986 Career After he graduated, he worked with the cultural missions of the Secretaría de Educación Pública in Oaxaca, Michoacán, Guerrero, Colima, Coahuila and Chihuahua (state) from 1932 to 1937 then again from 1941 to 1945. He stated that this experience was vital to his conscience as he worked with rural farm workers and others he stated were worthy of dignity and respect, but victims of deceit and exploitation. When he returned to Mexico City, he gave classes in high schools from 1937 to 1941. In 1945 he founded and directed the Taller Escuela de Dibujo y Pintura “Joaquín Claussell” in Campeche, Campeche. Dosamantes was a politically and culturally active artist with most of his work and affiliations related to such. He was a member of the Liga de Escritores y Artistas Revolucionarios from 1934 to 1938. He was a founding member of the Taller de Gráfica Popular, serving as administrator in 1940 and remaining a member until his death except for one short hiatus. He created posters for conferences about fascism and Nazism such as Alemania bajo bayonetas (Germany under bayonets) in 1938. In 1940 he became the secretary general of the Sindicato de Maestros de Artes Plásticas. He was also a member of the Sociedad para el Impulso de las Artes Plásticas en 1948, a founding member of the Salón de la Plástica Mexicana in 1949 and a member of the Frente Nacional de Artes Plásticas from 1952. He painted a number of murals in rural areas of Mexico generally when he was there on cultural missions. His main mural is at the former home of José María Morelos in Carácuaro, Michoacán, but there are a number at various rural schools. These were all painted between 1941 and 1946. As a book illustrator he mostly worked for the Secretaría de Educación Pública working on books for literacy campaigns. He exhibited his works, which included engravings, oils, tempuras and lithographs in Mexico and abroad. His first individual exhibition was in 1930 at the Galeria de Arte Moderno in Mexico City. His major exhibitions include the Excelsior Gallery in Mexico City in 1932, various exhibitions in New York, Washington, Philadelphia and Los Angeles in 1937; the Nelson Gallery of Art in Kansas City, Missouri in late 1947, and the Gallery of Mexican Art in...

Original Les Vignobles de France , Vins du Sud-Quest French vintage wine map poster. Horizontal. Size 36.5" x 27". Archival linen backed and re...

Feast of Lights (Poster) Signed in the stone 17 color lithograph Published by Kennedy Galleries Edition: Unknown edition, signed in the stone There was also a pencil signed edition o...

Adolf Dehn's, lithograph on chine collé, Curtain or The Flora Dora Girls, is an ode to burlesque with dancing girls and fabulous costumes. It comes on the heals of a 1930 pre-code mo...

Turn- about Color Aluminum plate lithograph from three plates Signed, titled, and numbered in pencil by the artist "Bon-a-tirer" impression (BAT) This is the finished example that the artist approved as the model for the edition. Published at Lakeside Studio with the master printer Jack Lemon. Condition: Very good, one ink stain in the large margin, from printing Image size: 18 3 /4 x 23 1/4" 47.63 x 59.06cm Sheet size: 22 x 29 7/8" "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell Black...

Black Passion Aluminum plate lithograph from two plates, 1975 Signed, titled and numbered in pencil by the artist Edition 50 Published at Lakeside Studio with the Master printer Jack Lemon Imagery depicts the Seven deadly Sins three Roman soldiers and Simon of Cyrene, who was forced to help Christ carry the cross One of Pozzatti's favorite works Condition: Otherwise very good condition Soft rippling bottom margin Image size: 20 x 28 inches (50.80 x 71.12cm) Sheet size: 24 x 32 inches "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell...

This lithograph is signed in pencil under the image at the lower right. Just above that, in the image, are the artist's initials and the date, 1942. This well-known walkway on the P...

Works by Jon Corbino (1905-1964) feature drama. Here he's showing us the chaos produced by a major earthquake in rural Montana in 1936 -- an actual historical event. The horses (ear...

Adolf Dehn's, lithograph about burlesque, The Big Hearted Girls #2 (also known as The Last Veil), is filled with dancing girls and fabulous costumes. That central figure is a marvel!...