Max Bill Art

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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...

**STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** ***EVERYTHING MUST GO BY DECEMBER 31ST!*** >>The artist is moving to a new full time venture in 2026<< _________...

THÉO TOBIASSE (1927–2012) – “THE VOICE OF MY BELOVED, BEHOLD” Lithograph on Japon Paper ⚜ Hand Signed and Inscribed Épreuve d’artiste ⚜ Minimalist Metallic Frame A SUMPTUOUS VISION...

Philip Guston at David McKee Gallery (pencil signed by Philip Guston), 1974 Lithograph and offset lithograph poster Signed in graphite pencil under the image 24 1/2 × 20 inches Unframed, unnumbered Rare vintage lithographic poster of 1974 Guston exhibition at David McKee Gallery Signed under the image in graphite pencil by Philip Guston Another hand signed edition is in the permanent collection of Vassar College; otherwise we haven't seen another besides the present work; a true collectors item when hand signed by the artist. Philip Guston Biography Philip Guston (1913 – 1980) is one of the great luminaries of twentieth-century art. His commitment to producing work from genuine emotion and lived experience ensures its enduring impact. Guston’s legendary career spanned a half century, from 1930 to 1980. His paintings—particularly the liberated and instinctual forms of his late work—continue to exert a powerful influence on younger generations of contemporary painters. Born in Montreal, Canada, in 1913 to poor Russian Jewish émigrés, Guston moved with his family to California in 1919. Briefly attending the Otis Art Institute in Los Angeles in 1930, he was otherwise completely self-taught. Guston’s first precocious work, Mother and Child, was completed when he was only seventeen years of age. Influenced by the social and political landscape of the 1930s, his earliest works evoked the stylized forms of Giorgio de Chirico and Pablo Picasso, social realist motifs of the Mexican muralists, and classical properties of Italian Renaissance frescoes of Piero della Francesca and Masaccio that he had seen only in reproduction. Painted in Mexico with another young artist, the huge fresco The Struggle Against War and Fascism drew national attention in the US. Guston’s success continued in the WPA, a Depression-era government program that commissioned American artists to create murals in public buildings. While not widely known today, the young artist’s early experiences as a mural painter allowed a development of narrative and scale that he would draw upon in his late figurative work. In the early 1940s, as the WPA program was ending, Guston found work teaching at universities in the Midwestern United States. In his studio, he was working in oils on easel paintings that were more personal and smaller in scale, focusing on portraits and allegories, like Martial Memory and If This Be Not I. His first solo exhibition in Iowa was well received and, within a few years, he was offered his first solo show in New York City. Guston was awarded a Prix de Rome, allowing him to leave teaching and spend a year in Italy, studying firsthand the Italian masters he loved. By the time he had finished The Tormentors, Guston’s move to abstraction was all but complete. On his return from Italy, he continued dividing his time between the artists’ colony of Woodstock in Upstate New York and New York City, which was then emerging as the center of the postwar art world. He rented a studio on 10th Street, where abstract expressionists Jackson Pollock, Willem de Kooning and Mark Rothko also worked. For Guston, success was never what mattered most. He was already impatient with the language of pure abstraction and experimenting with larger forms, using a limited palette of grays, pinks and blacks. As his forms became still more reduced, he stopped painting altogether and embarked on a series of simplified abstract “pure drawings” in brush or charcoal. At this juncture, Guston removed himself from the art scene in New York, living and working in Woodstock for the remainder of his life. Guston’s move ­was hardly a withdrawal. Freed from the distractions and formal constraints of the art world and the opinions of critics, he was able to experiment with new forms and to engage more deeply with the issues that mattered to him. The 1960s was a period of great social upheaval in the United States, characterized by assassinations and violence, civil rights and anti-war protests. “When the 1960s came along I was feeling split, schizophrenic,” Guston later said. “The war, what was happening to America, the brutality of the world. What kind of man am I, sitting at home, reading magazines...

Original exhibition poster produced when Hockney exhibited his work at the Barbican Centre in London. Features part of Hockney's Cubistic Bar artwork, a period where he explored Cubi...

Medium: original lithograph. This lithograph was printed in 1954 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Asger Jorn (Denmark, 1914-1973) Jorn. Galleri Flindt, 1978 lithograph on paper 27.6 x 19.3 in. (70 x 49 cm.) Excellent condition, unframed Ref: JOR100-201 A humanist in the broadest...

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...

Frank Stella (after) Untitled, for the Very Special Arts Gallery (Hand Signed by Frank Stella), 1992 Photo lithograph and offset litho on thin board (hand signed by Frank Stella) Fra...

Sarah Morris (American, born 1967) London, 2012 Medium: Digital print on rag paper with glaze Dimensions: 38 x 30 cm (14 15/16 x 11 13/16 in) Edition of 200: Hand-signed and numbered...

Original 1972 exhibition poster: PICASSO, Galerie Louise Leiris Exhibition. Printer Moulot 1972. Henri Deschamps engraver. Translated, it is called: "The Painter & His Model" Fine condition. This was the last exhibition of Picasso's works before his death in 1973. The drawing of a young woman with an aging artist is typical of Picasso's concern with death towards the end of his life. This lithographic poster was designed to advertise an exhibition of 172 recent drawings by Pablo Picasso at the Galerie Louise Leiris in 1972. Lithography was authorized by Picasso and executed by French artist Henri Deschamps. Signed in the plate by Deschamps lower right. Printed by Mourlot in Paris, under Picasso's supervision, 1972. Catalogue Raisonne: Czwiklitzer 446; Rodrigo 241. Limited edition: 5,250. Sheet size: 28" x 19". Galerie Louise Leiris was a fine art gallery in Paris established by Daniel-Henry Kahnweiler in 1920. It was named after Kahnweiler's partner, André Simon. In 1940, the business was turned over to Louise Leiris, who was Kahnweiler's daughter. It was run under her name. Prominent among the artists who sold paintings...