Roger Chapelain Midy Art

Medium: original lithograph. Catalogue reference Spies/Leppien 202. Published in 1971 by XXe Siecle. Sheet size: 12 1/4 x 9 3/8 inches (310 x 238 mm). Not signed.

René Magritte - LA VALSE HESITATION, 1950 (THE HESITATION WALTZ) Date of creation: 2010 Medium: Lithograph on BFK Rives Paper Edition number: 131/275 Size: 60 x 45 cm Condition: New,...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

After Pablo Picasso Le Peintre Et Son Modele, 1964 Original Lithograph on Arches paper unsigned 25.4 x 19.1 cm - sheet 35.6 x 29 cm - framed Edition of 2000 Limited edition lithogra...

Le Corbusier The Architect's Tools, 1964 Original lithograph Printed signature in the plate Limited to 250 copies On Arches vellum 42.5 x 35.5 cm (c. 16.5 x 13.7 in) Edited by Forc...

Yves GANNE (1931-2019) Naked Woman in the Countryside Original Lithograph Signed on pencil Numbered on 150 copies On vellum Arches 54 x 75.5 cm (c. 21.25 x 29.52 in) Very good cond...

This artwork titled "La Negra (The Black Woman)" from the suite "The Mujeres File" 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 numbered 150/150 in pencil by the artist. The image size is 26.85 x 21.25 inches, sheet size is 29.5 x 22.15 inches, framed size is 42 x 35 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #109 page 107. Custom framed in a wooden silver frame, with silver 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...

Luigi Senesi was an Italian painter and printmaker, trained at L'Istituto di Arte in Trento, later continuing his artistic training in Florence. Between 1972 and 1973 his painting ca...

Poster Size: 23.5 x 16.5 in. Vintage Gold Leaf Frame Size: 23.5 x 16.5 in. Signed and inscribed in gold marker, bottom right A poster for "The Winter Ball 1988" in Houston, Texas, p...

Color offset lithograph. Signed, numbered or inscribed by hand. Edition: 180. In good condition, minimal traces of storage. A beautiful artwork that looks good in every room and ...

Framed lithograph of a female Nude Lying Down pastel by artist Aristide Maillol. Image size: 9 1/4 x 14 1/2 inches. Framed under glass in wooden frame.

By noted equine artist, Sam Savitt (1917-2000) featuring (18) vignette scenes in color drawings of Polo Players Print Sz: 36"H x 24"W Black Horse Press 1987