Luciano Minguzzi Art

Untitled Signed in pencil lower right (see photo) Edition: 25 (9/25) (see photo) Engraving, drypoint & carborundum Printed by the artist Condition: Excellent, slight residue on rever...

This vibrant abstract orange and green print is part of a group of soft-ground etchings (Artist and Model, Artist and Model (in green and yellow), These…Plants) by Howard Hodgkin. The two versions of Artist and Model are printed from the same plates, but in different colors. In this iteration, green watercolor contrasts beautifully with marigold orange, crimson, and terra cotta red. Seen in all three prints is a bust in silhouette before a window. Artist and Model is a surprising name, as Hodgkin never painted or drew from a model. Signed by the artist with initials, dated 1980, and numbered lower center in red crayon. Soft-ground etching with hand coloring in a yellow watercolor wash and green gouache on Stoneridge mould-made etching paper. Edition 100. Howard Hodgkin was introduced to the etching technique used in Artist and Model (in green and yellow) 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. Catalogue reference: Elizabeth Knowles...

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...

Zao Wou-ki - Moments - Original Aquatint Edition of 130 Dimensions: 34.2 x 30.5 cm Vellum paper BFK Rives 1996 Bibliography: Jørgen Ågerup, Zao Wou-Ki: The Graphic Work, A Catalogue ...

Bronze & Steel Table

TECHNICAL INFORMATION Harry Bertoia Spray 1979 (year completed) Steel wire, bronze 37 h x 13 dia in. Sold with a certificate of authenticity from the Harry Bertoia Foundation and a...

Magnificent Jungle Cats Etching, drypoint and monoprint inking of the plate Printed by the artist at Atelier 17, New York Annotated 1/5 in pencil Estate stamp and number, verso Editi...

This small exquisite "Bronze Sculpture II" is in excellent condition and a perfect example of Eugene Caples craftsmanship. This is mainly abstract with some graphic or architectural elements and is so delightful that mythical creatures demand to be considered. It cries out to be touched and held, looked at and caressed. The beautiful patina on the surface gives voice to the many hands that have done these things. Eugene Caples is a designer and craftsman who worked in Kansas City in the 1960s and later through the early 21st century. He attended the Kansas City Art Institute, earning his Bachelors of Fine Arts in Industrial Design in 1959. In 1963 he was accepted to Cranbrook Academy of Art, Bloomfield Hills, Michigan. The Cranbrook Academy of Art was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. Numerous creative artists are alumni of Cranbrook and include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald...

Bronze & Steel Table

Ted Egri (American, 1913-2010) Bronze sculpture Rabbi Signed Egri and numbered 4/30 on side. Dimensions: 12"L x 8.5"H x 6.75" D Born in New York city in 1913 to a Hungarian Jewish emigre family (both of his parents were born in Hungary), Egri was first exposed to music later dropping that for art. He studied with Howard Giles at the Master Institute of the Roerich Museum in New York where he was introduced to Oriental arts, Chinese and Japanese art forms, and later with Hans Hofmann. He worked for the Federal Arts Project, the WPA, making mural paintings and silkscreen prints as well as easel painting. Once WWII began, Egri signed up to serve as a map maker for the Navy, and was witness to some of the fiercest battles in the Pacific. As an artist, he painted many important depictions of his wartime experiences and these works have all be donated to the U.S. Naval Museum. Already a practicing painter and instructor at the Kansas City Art Institute, Ted Egri came to Taos, New Mexico with his wife Kit in 1950 to continue his study of painting at Ribak's Taos Valley Art School on the GI Bill. Louis Ribak quickly introduced Egri to Eulalia Emetaz, the owner of La Galleria Escondida, who gave him his first one-person show in 1951. A prolific and versatile artist, as well as arts organizer and advocate, Egri's contributions to underserved African American, Native American, Hispanic and women were honored by two Taos mayors, with no less than two Ted Egri days during his 50-year art career in Taos. Egri remained in Taos. He became widely known for his sculpture, influenced by cubism and painting, with his style ranging from abstract to realistic. Egri had incredible draftsmanship - charcoal, pencil, pastel, watercolor, oils, mixed media, pen and ink, acrylic, gouache Over time his work gradually shifted from its focus on human struggle to an exploration of natural elements and the changes that come about as a result of living in a physical environment like Taos. "The impact of the majestic Sangre de Cristo Mountain Range and the vast spaces of the mesas directed me toward space and form. I moved into sculpture," Egri said in a 1987 interview with ARTSPACE magazine. He was included in a show at Stables Gallery along with Emil Bisttram, Louis Catusco, Edward Corbett, Lawrence Calcagno, Keith Crown, Andrew Dasburg, John De...

Vivid color aquatint with hand coloring in watercolor by Howard Hodgkin, from a limited edition of 50. Initialed by Hodgkin, dated and numbered in pencil. Printed by Andrew's Print...

Joan Miró, Le Prophète La Nuit (The Prophet at Night), 1965 is a striking and poetic example of the artist’s extraordinary ability to create an entire visual universe from the simple...

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

Bronze & Steel Table

"Guided Spirit" (maquette) Abstract, Tabletop Size, Metal Sculpture by Kevin Barrett Bronze Kevin Barrett is noted for creating unique, rhythmic, abstract indoor and outdoor sculptu...