Saul Rabino Art

This art print on recycled paper captures the chic aesthetic of times past. Vintage style has an enduring appeal in the fashion world. Personalize your space with this fashionable st...

Artist: Lebadang, Vietnamese (1922 - 2015) Title: Red Boats on Orange Year: circa 1970 Medium: Lithograph on Japon Paper with Remarque Drawing, signed in pencil Edition: EA Size: 29 ...

Pierre Alechinsky A Maiakovski, 1958 (For Mayakovsky) Color lithograph and offset lithograph with text Pencil numbered 10/50 and signed by BOTH artist Pierre Alechinsky and writer C...

Françoise Gilot Window on Another Dimension, 1981 Lithograph on Arches mould made Johannot paper Signed and numbered in graphite pencil; also bears artist's monogram with date, editi...

Louis Icart Train Attendant, c. 1917 Original dry point etching Watercolor and pencil drawing in the lower margin Handsigned in pencil On Japanese paper, 47,5 x 32,5 cm (c. 18,7 x 1...

Elizabeth Catlett Blues, 1983 Color lithograph on cream wove paper Signed, titled, dated and numbered in graphite pencil on the front Printed and published by the Brandywine Workshop...

Niki de Saint Phalle My Love We Wont, 1968 Lithograph and silkscreen on wove paper Signed and numbered 51/75 in graphite pencil on the front Frame included: elegantly floated and framed in a museum quality white wood frame with UV plexiglass From the Brooklyn Museum, which has an edition of this work in its permanent collection: "Throughout her long and prolific career Niki de Saint Phalle, a former cover model for Life magazine and French Vogue, investigated feminine archetypes and women’s societal roles. Her Nanas, bold, sexy sculptures...

Portrait of Nobleman is a Pencil and Pastel Drawing realized by an unknown artist of late 18th century. Good condition on a little yellowed paper...

L’Ecuyer (The Squire) is an engraving made by the Parisian artist Louis-Marin Bonnet, realized in the second half of 1700 in Paris. Inside the matrix, the title is engraved on the lower center, whilst “L. Bonnet direx” is engraved on the lower right. The state of preservation is somewhat good, except for fungal foxing spread on the sides of the figure and some small stains, one of which is more evident on the lower center of the image. The right margin of the paper is fringed with tiny tears. Louis-Marin Bonnet lived from 1736 to 1793 in Paris. He was a painter and engraver, and as such he invented one of the first color-printing methods with many matrices, with a pastel-like effect. In 1769, he published a treatise titled Le Pastel en gravure inventé, et execute par Louis Bonnet...

This series of four art prints on recycled paper features strong yet minimalist figurative compositions. A blend of detailed and expressive pencil work balances the contrast between ...

Le Petit Maitre (The Small Master) is an engraving made by the Parisian artist Louis-Marin Bonnet and realized in the second half of 1700 in Paris. Inside the matrix, the title is engraved on the lower center, whilst “A Paris, chez Bonnet rue St. Jacques” appears on the lower right. The state of preservation is somewhat good, except for fungal foxing spread on the left margin and some stains, of which one is more visible on the higher left of the image. The higher, lower, and left margins are fringed and present tiny tears. Louis-Marin Bonnet lived from 1736 to 1793 in Paris. He was a painter and engraver, and as such he invented one of the first color-printing methods with many matrices, with a pastel-like effect. In 1769, he published a treatise titled Le Pastel en gravure inventé, et execute par Louis Bonnet...

Mary Bauermeister Rainbow, 1973 Lithograph and silkscreen on creamy white paper Hand signed, dated and numbered 56/250 by the artist on the front 19 x 25.5 inches Unframed This work is on the permanent collection of various institutions like: Rice University, Samuel Dorksy Museum of Art, Rutgers Zimmerli Museum and Wheaton College Massachusetts. While studying the fringe sciences the 1970s, Bauermeister created Rainbow (1973), a lithograph and silkscreen. She uses a creamy white background as the base. Two intersecting diagonal bands of color transcend across the page, and black cursive lettering dances over the surface serving as a mind map of interweaving ideas. Through the central band, Bauermeister shifts through the color spectrum; she begins with red and finishes with violet. Inspired by music, she uses strokes of color that are rhythmically smeared across the lithograph. The surface lettering, a kind of visual poetry, explores her interest in human emotion and science. The viewer can see Bauermeister’s thoughts as they flow into one another through the use of words such as bliss, love, and healing. Bauermeister also includes a repetition of words such as cancer, sickness, and cure. The word cancer emerges from a cell-like shape. A careful study of the words shows that they may seem dark in nature; however, she juxtaposes these words against the cheerful title and colors. Perhaps the rainbow symbolizes a new hope, an inspiration for an optimistic future. -Courtesy to the Samuel Dorsky Museum of Art About Mary Bauermeister: A multidisciplinary artist known for her intricate and enigmatic assemblages, Mary Bauermeister (1934-2023) continues to defy categorization with layered works in a range of media. A precursory figure of the Fluxus movement—her studio was the meeting point for a number of defining artists of the avant-garde—her work plays an integral role in the discussion of art, both European and American, that emerged from the 1960s. Her reliefs and sculptures, which have incorporated drawing, text, found objects, natural materials and fabric, reference a plethora of concepts: from natural phenomena and astronomy to mathematics and language, as well as her own “spiritual-metaphysical experiences.” Maturing amidst the currents of Minimalism and Pop Art, Bauermeister’s art has resisted labels due to the singular expression of her interests and concerns, among them the simultaneous transience and permanence of the natural world with experimentations in transparency and magnification, multiplication and variation, structure and order, chance and ephemerality, introversion and extroversion. Her three-dimensional receptacles of thoughts, ideas, and notes contain visual, conceptual, and philosophical paradoxes that challenge perceptions and that offer literal and metaphorical windows into which one can glimpse the inner workings of the artist’s mind. - Courtesy of Michael Rosenfeld...