Juan Tafoya More Art

Sterling Ruby (American, b. 1972) 2015 CHINATI FLAG (DNM) Tag printed with SR STUDIO LA CA printed with handwritten edition number Ed # 88/100 Hand signed "Sterling Ruby" in black pe...

Milwaukee Handicraft Project, Applied Design Blockprinted Textiles Volume VI Supplement, c. 1935 - 1942, twelve block printed designs on linen, images are various sizes, each is mounted in its original folder which measures 24 x 19 inches, all bear the Milwaukee Handicraft Project label, various designers, including Barbara Warren (1915 - 2005) ("Checkered Flower" and perhaps others), includes original portfolio binder The Milwaukee Handicraft Project (MHP) was the most prolific and successful of the decorative arts projects of the Works Progress Administration (WPA). It served as a model for many other similar projects across the United States and attracted the attention of thought leaders as diverse as Frank Lloyd Wright and First Lady Eleanor Roosevelt. Designed with the dual goals of providing work for underprivileged women and the creation of well-designed household objects, the MHP began in 1935 under the direction of Elsa Ulbricht...

Ken Ferguson Basket with handle Material: Stoneware, glaze Year: Circa 1980 Size: 18 x 13 inches Stamped Kenneth Richard Ferguson was an American c...

Josef Albers Album Art complete set of 7 circa late 1950s: A set of 7 vinyl record covers (containing their records) brilliantly designed by Josef Albers between 1958 and 1960. The s...

Midsize colorful ceramic totem in peach, lavendar blue and chartruce give a sweet n peaceful feeling to a garden or interior space. Please note: The base is not included. We will gui...

Color lithograph, 1979. An artist's proof impression, aside from the numbered edition of 175. Signed by the artist in pencil, lower right. Inscribed "AP" (artist's proof) in pencil...

"Glass Fused Ceramic Vase" is vintage Mid-Century Modern. This handsome vase has an elongated neck with a white glass-fused inlay portion on the front body...

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...

Oil on thick card stock, 1960. Signed by the artist in oil, lower right recto. Provenance: the artist, Montclair, NJ; Margaret Kelly, Bloomsburg, PA; private collection; Illinois, ...

SALE ONE WEEK ONLY Douglas’s etched ceramic vase in a rich earthy green glaze expresses the Mid-Century Modern style of simplicity of lines, forms and color. Despite its formal shap...

Nude In Lavender NOT framed Neo Cubism About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk from New York City to paint seascapes, catch ...

Chic mid century palm leaf sculptural wall sconce handcrafted in copper with three layers of leaves tied with a brass wrap, by Mario Villa, New Orleans.