Mario Tozzi Art

"Sticks and Stones" (2024) by Sheri Farabaugh (United States Based) is a beautiful handmade still life oil painting that depicts a closeup of a pond shore, with tree branches laid ac...

Full title: "Ship of Cools, or, A Jolly Load of Boatmen Flat-Out Crossing the Mainstream, Some Being Kings, and Some Being 'Vagabonds' (We Await Your Applause) (#1318)" Watercolor, acrylic, and ink on paper (Diptych) Signed in black ink, l.l. This artwork references George Caleb Bingham’s 1846 painting “The Jolly Flatboatmen...

André Planson - French Province Original Lithograph Handsigned Dimensions: 38 x 28 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Rufino Tamayo Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 1000 Size: 10 x 7.325 inches (25.4 × 18.61 cm) Unsigned and not individually numbered Publisher: La Poligrafa S.A., Barcelona, Spain Printer: La Poligrafa S.A., Barcelona, Spain Copy of the Imprint Page with Edition Number included Gallery-issued COA provided upon request *Could come framed in a simple white/black/natural frame made from composite wood with standard plex for an additional $48. See example images. Please inquire. Rufino Tamayo was among the internationally recognized artists featured in the Ediciones Polígrafa exhibition at the Redfern Gallery, London, held from December 4, 1979 to January 31, 1980. Organized in collaboration with the Barcelona-based publisher Polígrafa, the exhibition highlighted a broad spectrum of modern printmaking, bringing together leading figures whose graphic works expanded the boundaries of contemporary art. Tamayo’s contribution reflects his distinctive synthesis of Mexican cultural identity with international modernist language. Unlike many of his contemporaries in Mexican muralism, Tamayo favored a more universal and poetic visual vocabulary over overt political narrative. His prints—often executed as lithographs—are characterized by bold chromatic contrasts, textured surfaces, and simplified, almost cosmic figuration. Themes such as humanity, mythology, celestial bodies, and existential reflection recur throughout his work, conveyed through a restrained yet powerful formal language. Within the context of the Polígrafa exhibition, Tamayo’s prints underscored the global dialogue between tradition and modernity, situating his work alongside that of artists such as Joan Miró, Antoni Tàpies, and Eduardo Chillida. His inclusion reaffirmed his position as one of the most significant Latin American artists of the 20th century and a key figure in the evolution of modern printmaking. Rufino Tamayo lithograph...

Behold the original lithographic Petty Pin-up, a unique vertical-format piece. The see-through bathing suit she wears seems to make her glow, especially with her red hair peeking fro...

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. (...

Original 1918 Gerrit A. Beneker "Sure! We'll Finish the Job" Victory Liberty Loan Poster, archival linen-backed in good condition, ready to frame. Grade B+ An iconic and authentic ...

Yves GANNE (1931-2019) The Bouquet of Tulips Original Lithograph Signed on pencil Numbered of 140 copies On vellum Arches 76 x 54 cm (c. 29.92 x 21.25 in) Very good condition, mino...

Still Life is an artwork realized by Ernesto Alcide Campestrini (1897-1983). Oil on Table. cm 50x60; 55 x 66 cm with frame. Hand signed in the lower left margin. Good condition. Alcide Ernesto Campestrini was born in Milan, where the family had moved in 1897. After the first rudiments of art with his father, from 1914 he was a student at the Brera Academy in Milan, under the guidance of Ambrogio Antonio Alciati. In 1919 he resumed his painting studies in Brera, interrupted by enlistment. He concluded them in 1922, the year in which he obtained his teaching qualification. He lived in Milan and in 1923 he exhibited Smiles of other times at the Palazzo della Società per le Belle Arti and Permanent Exhibition: the so-called Brera Biennale, at the following one in 1925, presented with Ultime note and El disperados. In 1926 he exhibited Porta Volta, at the First Art Exhibition of Milanese Artists organized by the Meneghina family, the contemporary Self-Portrait is one of the first works by him that we know so far today. He devoted himself to still life, figure painting and the alpine landscape, the Trentino one in particular, with a technique linked to his father's school and to the late nineteenth-century tradition. He held several personal exhibitions in Milan. The Campestrini family spends their holidays in Valsugana several times, sometimes as guests of Emma Campestrini's relatives. The painter falls in love with Lake Caldonazzo, depicted several times in his canvases, such as in the 1949 painting...

Mystery of Womanhood is an original 1947 pencil signed limited edition ( 31 / 100 ) lithograph by Emilio Pucci. It is from a set of six lithographs...

"Title Page" and "Art Nouveau Motif" are two sides of one double-sided original lithograph by Art Nouveau master Alphonse Mucha. These illustrations were from "Ilsee, Princess of Tri...

Giardino di Rose, 2022 Ink on Toned Paper with Frame, 12.25 x 15.25 inches Transporting the viewer to Florence’s sun-lit rose garden, Justas Varpucanskis...