Max Bill Art

Known for addressing difficult issues, this lithograph by Sue Coe tackles the difficult subject of rape culture. It is numbered in the lower left corner and signed and dated in the l...

The Old Lyme Congregational Church located on Ferry Road, a quintessentially New England landmark, was captured by Walter DuBois Richards. The church was a favorite subject of Old Ly...

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SOL LEWITT (1928 – 2007) Grids and Color Plate #41 Silkscreen in colors on Arches 88 paper, c. 1979 Impression 8 of an edition of 10 wit...

Jim Bird Untitled Composition - De Luxe Edition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph on Fine Paper with Deckled Edges Year: 1979...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Agnes Martin Recent Paintings, 1977 Offset Lithograph invitation on Vellum 12 × 12 inches Edition of 2000 Unframed This early print is an exhibition invitation to the Pace Gallery's ...

Bernhard Leitner, (Austrian, 1938) From a portfolio "Sound : Space" "Ton : Raum" Self published by artist in 1975/1976, Limited edition of 50 Hand signed in pencil by artist. Acc...

From the artist's Sinjerli Variations series created in 1977, this original print by Frank Stella was created as a lithograph and screenprint in colors on Arches paper. Hand-signed i...

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Ian Tyson Diversions XI - 1970 Screen Print 16'' x 15'' inches Edition: signed in pencil and marked 23/150 Ian Tyson, British painter, printmaker and book artist, was born in Wallas...

Victor Vasarely (Hungarian-French, 1906-1997) Untitled, ca. 1966 Medium: Screen print on card Dimensions: 27 3/5 × 27 3/5 in (70 × 70 cm) Edition of 100: Hand-signed in pencil, not n...