René Gruau More Prints

Color lithograph, Edition 40. Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with “Mountaintime”, followed in 1982 by their first three-dimensional lithograph, “Ruckus...

Pablo Picasso (1881-1973) - Don Quichote Lithograph with quadrochromy from 1961. Dimensions of sheet: 37.9 x 27 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Éditions Cercle ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Alexander Calder (1898-1976) - Hommage à San Lazzaro Lithograph from 1975. Edition 371/575 (Photocopy of t...

Original vintage poster: Portugal and Spain by Pan American World Airways Clipper, Artist: Jean Carlu. Pan American original vintage poster large travel size format 27.5" x 41.1" Earliest version (the 1950s) of the poster for travel by Constellation aircraft. Original linen-backed, Pan American World Airways by Clipper vintage poster for travel to Portugal and Spain. Wear and stress marks in the top and bottom dark area but are not tears.. Small touch-up on the left white border. In the middle of this image, it features a matador with a cape hanging off his shoulder. Surrounding the image in vignettes of cut-out windows showing typical landscape scenes and castles. A great smaller format original for "The World's Most Experienced Airline". One of the windmills shown in this image has cloth sails. Trimming the sails allowed the windmill to turn at near the optimal speed in a large range of wind velocities. Pan American World Airways by Clipper. Pan American a.k.a. Pan Am Airlines posters are very collectible and rare year to year. This a great design opportunity for a home with a European flair. The Pan Am Clipper...

Nelson Mandela, Hand of Africa, Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of leaving a legacy for his ...

Pablo Picasso (1881-1973) - L'atelier de Cannes Lithograph from 1958. On Arches paper. Dimensions of work: 44.8 x 33.4 cm. Plate signed. It's an enhanced version of the first st...

Sonia Delaunay - Composition Original Lithograph 1972 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Lazzaro. Sonia Delaunay was known for her vivid use of color and her bold, abstract patterns, breaking down traditional distinctions between the fine and applied arts as an artist, designer and printmaker. Born Sarah Stern on November 14, 1885 in Gradizhsk, Ukraine, she was adopted in 1890 by her maternal uncle, Henri Terk, a lawyer in St. Petersburg, where she grew up, exposed to music and art, and learning several foreign languages. In 1903, she moved to Germany to study drawing with Ludwig Schmidt-Reutler (1863–1909) at the Karlsruhe academy of fine arts; Arnold Schoenberg (1874–1951), composer-to-be, was among her classmates there. In 1905, she traveled to Paris where she attended art classes at the Académie de la Palette, learned printmaking from Rudolf Grossman (1889–1941), and met Amédée Ozenfant (1886–1966), André Dunoyer de Segonzac (1884–1974), and Jean-Louis Boussingault (1883–1943). Sonia spent much of her time at exhibitions and galleries in Paris, which showed works by Paul Cézanne, Vincent Van Gogh, Pierre Bonnard, and Edouard Vuillard, as well as Les Fauves, Henri Matisse and André Derain. She did, however, maintain contact with Germany, exhibiting at the Galerie Der Sturm, Berlin, in 1913, 1920 and 1921. During her first year in Paris, Sonia met the German collector and art-dealer, Wilhelm Uhde (1874–1947), whom she married on December 5, 1908, and whose Montparnasse gallery, the Galerie Notre-Dame des Champs, showed her first solo exhibition. Through Uhde, Sonia encountered many painters, including Pablo Picasso, Georges Braque, Maurice de Vlaminck, and Robert Delaunay (1885–1941). In 1910, Sonia divorced Uhde by mutual agreement, married Delaunay that same year, and gave birth to their son, Charles, in January 1911. Together Sonia and Robert Delaunay pursued the study of color, influenced by theories of Michel-Eugène Chevreul (1786–1889). Sonia’s interest in simultaneous contrast, as evidenced in her early collages, book bindings, small painted boxes...

Original WW1 poster: YOU BUY A LIBERTY BOND, LEST I PERISH! Linen-backed, fine condition. Ready to frame. Statue of Liberty lithograph, W...

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...

Pierre Tal Coat - Original Lithograph 1976 Dimensions: 32 x 25 cm Revue XXe Siècle Edition: Cahiers d'art published under the direction of G. di San ...

Pablo Picasso Le Picador II from A Los Toros Avec Picasso Lithograph in 24 colors on wove paper 1961 Image Size: 8 x 10 inches Frame Size: 21 x 23 inches Dated in the plate Referenc...

"Rat" lithograph from 1971 "No Gas" portfolio by Red Grooms. Hand-signed AP Red Grooms inside blue of Clorox bottle on front lower right. Image size: 22 x 27 1/2 inches. Depicts a N...