Robert Tavener Prints and Multiples

Vladimir Veličković Untitled Composition from "Ediciones Poligrafa, Barcelona at Redfern Gallery, London" Original Color Lithograph Year: 1979 Edition: 1000 Size: 10 x 7.325 inches ...

Color silkscreen and collage. Framed. Hand signed, dated and numbered by the artist. Certificate of authenticity included. Edition PP 2/6. All reasonable offers will be considered.

A vibrant celebration of Taos life and culture, Saturday Morning (Market, Taos Plaza, New Mexico) is a striking 1950s modernist linocut print by acclaimed New Mexico artist Barbara L...

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...

Alekos FASSIANOS Greece : Pink Nude with Wheat Ear, 1982 Original lithograph Printed signature in the plate On heavy paper 56 x 75 cm (c. 22 x 30 inch) For the Fassianos exhibition...

This limited edition color lithograph, titled The Serpent, beautifully recreates the iconic watercolors from the beloved book Le Petit Prince by Antoine de Saint-Exupéry. Each print ...

A rare and visually striking 1933 lithograph, Silver Mine, Russell Gulch, by celebrated German-American Modernist Arnold Rönnebeck. This atmospheric black-and-white composition captu...

Artist: Juan Garcia Ripolles, Spanish (1932 - ) Title: Paloma Year: 1969 Medium: Lithograph, signed and numbered in pencil Edition: PA XXVII/XXX Image Size: 17 x 22 inches Frame Size...

Original 1968 poster for exploitation film legend Herschell Gordon Lewis's She Devils on Wheels. A masterful statement of 1960s graphic design, this oversized drive-in poster was acq...

Artist: Knox Martin, American (1923 - ) Title: Flowers 3 Year: 1981 Medium: Screenprint on Heavy Hand-Made Paper, signed in pencil Edition: 300, HC Paper Size: 42 x 30 inches Prin...

FRANCES H. GEARHART (1869 – 1958) DESERT VISTA (Death Valley) c. 1930 Color linocut signed and titled in pencil. Image 8 3/8 x 8 7/8”. On fibrous japon paper. Sheet 11 ¾ x 8 ¼”. Gen...

Wistful Love (Mono-omoi koi) is a beautiful colored print realized after Kitagawa Utamaro, printed in 1956 by Edizioni Beatrice d'Este, a publishing house in Milan. Screen print on ...