Shepard Fairey Prints and Multiples

Artist: Russell Young Title: Marilyn Portrait (Red) Portfolio: Marilyn Portrait Medium: Hand-pulled acrylic and enamel silkscreen on paper Date: 2014 Edition: 25/25 Sheet Size: 27" x...

Blue Stories es un proyecto concebido durante el confinamiento. En sus caminatas, Jan Hendrix recolectó imágenes de sombras de árboles creadas en muros y aceras y los azules del ciel...

Serigrafía y laca automotiva sobre panel de aluminio.

Jacob Lawrence (1917 - 2000) The Capture of Marmelade (from The Life of Toussaint L'Ouverture series), 1987 Color screenprint on Bainbridge Two Ply Rag paper Sheet 32 1/8 x 22 1/16 inches Sight 29 3/4 x 19 1/4 inches A/P 1/30, aside from the edition of 120 Signed, titled, dated, inscribed "A/P" and numbered 1/30 in pencil, lower margin. Literature: Nesbett L87-2. A social realist, Lawrence documented the African American experience in several series devoted to Toussaint L’Ouverture, Frederick Douglass, Harriet Tubman, life in Harlem, and the civil rights movement of the 1960s. He was one of the first nationally recognized African American artists. “If at times my productions do not express the conventionally beautiful, there is always an effort to express the universal beauty of man’s continuous struggle to lift his social position and to add dimension to his spiritual being.” — Jacob Lawrence quoted in Ellen Harkins Wheat, Jacob Lawrence: The Frederick Douglass and Harriet Tubman Series of 1938 – 40. The most widely acclaimed African American artist of this century, and one of only several whose works are included in standard survey books on American art, Jacob Lawrence has enjoyed a successful career for more than fifty years. Lawrence’s paintings portray the lives and struggles of African Americans, and have found wide audiences due to their abstract, colorful style and universality of subject matter. By the time he was thirty years old, Lawrence had been labeled as the ​“foremost Negro artist,” and since that time his career has been a series of extraordinary accomplishments. Moreover, Lawrence is one of the few painters of his generation who grew up in a black community, was taught primarily by black artists, and was influenced by black people. Lawrence was born on September 7, 1917,* in Atlantic City, New Jersey. He was the eldest child of Jacob and Rosa Lee Lawrence. The senior Lawrence worked as a railroad cook and in 1919 moved his family to Easton, Pennsylvania, where he sought work as a coal miner. Lawrence’s parents separated when he was seven, and in 1924 his mother moved her children first to Philadelphia and then to Harlem when Jacob was twelve years old. He enrolled in Public School 89 located at 135th Street and Lenox Avenue, and at the Utopia Children’s Center, a settlement house that provided an after school program in arts and crafts for Harlem children. The center was operated at that time by painter Charles Alston who immediately recognized young Lawrence’s talents. Shortly after he began attending classes at Utopia Children’s Center, Lawrence developed an interest in drawing simple geometric patterns and making diorama type paintings from corrugated cardboard boxes. Following his graduation from P.S. 89, Lawrence enrolled in Commerce High School on West 65th Street and painted intermittently on his own. As the Depression became more acute, Lawrence’s mother lost her job and the family had to go on welfare. Lawrence dropped out of high school before his junior year to find odd jobs to help support his family. He enrolled in the Civilian Conservation Corps, a New Deal jobs program, and was sent to upstate New York. There he planted trees, drained swamps, and built dams. When Lawrence returned to Harlem he became associated with the Harlem Community Art Center directed by sculptor Augusta Savage, and began painting his earliest Harlem scenes. Lawrence enjoyed playing pool at the Harlem Y.M.C.A., where he met ​“Professor” Seifert, a black, self styled lecturer and historian who had collected a large library of African and African American literature. Seifert encouraged Lawrence to visit the Schomburg Library in Harlem to read everything he could about African and African American culture. He also invited Lawrence to use his personal library, and to visit the Museum of Modern Art’s exhibition of African art in 1935. As the Depression continued, circumstances remained financially difficult for Lawrence and his family. Through the persistence of Augusta Savage, Lawrence was assigned to an easel project with the W.P.A., and still under the influence of Seifert, Lawrence became interested in the life of Toussaint L’Ouverture, the black revolutionary and founder of the Republic of Haiti. Lawrence felt that a single painting would not depict L’Ouverture’s numerous achievements, and decided to produce a series of paintings on the general’s life. Lawrence is known primarily for his series of panels on the lives of important African Americans in history and scenes of African American life. His series of paintings include: The Life of Toussaint L’Ouverture, 1937, (forty one panels), The Life of Frederick Douglass, 1938, (forty panels), The Life of Harriet Tubman, 1939, (thirty one panels), The Migration of the Negro,1940 – 41, (sixty panels), The Life of John Brown, 1941, (twenty two panels), Harlem, 1942, (thirty panels), War, 1946 47, (fourteen panels), The South, 1947, (ten panels), Hospital, 1949 – 50, (eleven panels), Struggle: History of the American People, 1953 – 55, (thirty panels completed, sixty projected). Lawrence’s best known series is The Migration of the Negro, executed in 1940 and 1941. The panels portray the migration of over a million African Americans from the South to industrial cities in the North between 1910 and 1940. These panels, as well as others by Lawrence, are linked together by descriptive phrases, color, and design. In November 1941 Lawrence’s Migration series was exhibited at the prestigious Downtown Gallery in New York. This show received wide acclaim, and at the age of twenty four Lawrence became the first African American artist to be represented by a downtown ​“mainstream” gallery. During the same month Fortune magazine published a lengthy article about Lawrence, and illustrated twenty six of the series’ sixty panels. In 1943 the Downtown Gallery exhibited Lawrence’s Harlem series, which was lauded by some critics as being even more successful than the Migration panels. In 1937 Lawrence obtained a scholarship to the American Artists School in New York. At about the same time, he was also the recipient of a Rosenwald Grant for three consecutive years. In 1943 Lawrence joined the U.S. Coast Guard and was assigned to troop ships that sailed to Italy and India. After his discharge in 1945, Lawrence returned to painting the history of African American people. In the summer of 1947 Lawrence taught at the innovative Black Mountain College in North Carolina at the invitation of painter Josef Albers. During the late 1940s Lawrence was the most celebrated African American painter in America. Young, gifted, and personable, Lawrence presented the image of the black artist who had truly ​“arrived”. Lawrence was, however, somewhat overwhelmed by his own success, and deeply concerned that some of his equally talented black artist friends had not achieved a similar success. As a consequence, Lawrence became deeply depressed, and in July 1949 voluntarily entered Hillside Hospital in Queens, New York, to receive treatment. He completed the Hospital series while at Hillside. Following his discharge from the hospital in 1950, Lawrence resumed painting with renewed enthusiasm. In 1960 he was honored with a retrospective exhibition and monograph prepared by The American Federation of Arts. He also traveled to Africa twice during the 1960s and lived primarily in Nigeria. Lawrence taught for a number of years at the Art Students League in New York, and over the years has also served on the faculties of Brandeis University, the New School for Social Research, California State College at Hayward, the Pratt Institute, and the University of Washington, Seattle, where he is currently Professor Emeritus of Art. In 1974 the Whitney Museum of American Art in New York held a major retrospective of Lawrence’s work that toured nationally, and in December 1983 Lawrence was elected to the American Academy of Arts and Letters. The most recent retrospective of Lawrence’s paintings was organized by the Metropolitan Museum of Art in 2020, and was accompanied by a major catalogue. Lawrence met his wife Gwendolyn Knight...

Serigrafía y hoja de plata sobre panel de MDF.

Artist: Mr. Brainwash Title: Love Catcher - Red Medium: Screenprint on Archival paper Date: 2023 Edition: 75 Frame Size: 28" x 28 1/2" Sheet Size: 22" x 22" Signature: Hand signed wi...

From Here to There (2002) A lithographic 3 dimensional collage assembled from mylar, hand made papers from Dieu Donne Papermill, and printed elements on Rives BFK white and black Mor...

Artist: Toulouse Lautrec (1864 -1901) French Title: The Chestnut Vendor Medium: Lithograph, Year: 1897 Signature: Signed in Plate (TL) Lower Left Dimensions: 20” x 17” Framed, 11” x 8.5” Unframed A lithograph of a Toulouse Lautrec drawing...

Artist: Will Barnet, American (1911 - 2012) Title: Interlude Year: 1982 Medium: Serigraph, signed and numbered in pencil Edition: AP Image Size: 20 x 38 inches Size: 25.5 x 42.5 in. (64.77 x 107.95 cm) Fig 179, pg 70 from Will Barnet: Prints 1931-2005, published by John Szoke...

Signed with pencil. Technique: Serigraph printing Stamp measurements: 60 x 45 cms Number of inks: from 30 to 35 Paper: Biblos Guarro Español 100% cotton Edition: 500 pieces (250 + 25...

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grimes of The New York Times as "a restlessly inventive printmaker, painter, and sculptor." Born and raised in New York City, Mazur attended the Horace Mann School. He received a bachelor's degree from Amherst College in 1958, then studied art at Yale. Mazur first gained notice for his series of lithographs and etchings of inmates in a mental asylum, which resulted in two publications, "Closed Ward" and "Locked Ward." Over the years, he worked in printmaking and painting. His series of large-scale prints for Dante's Inferno won critical acclaim, and were the subject of a traveling exhibition organized by the University of Iowa in 1994. Later he concentrated on creating large, lyrical paintings which make use of his free, gestural brushwork and a varied palette. Some of these paintings were seen in an exhibition of 2002 at Boston University, "Looking East: Brice Marden, Michael Mazur, and Pat Steir." (See also Susan Danly, "Branching: The Art of Michael Mazur," 1997). The Museum of Fine Arts, Boston, has acquired a definMichael Mazur received a B.A. from Amherst College in 1957, studying in his senior year at the Accademia di Belle Arti in Florence, Italy. He went on to earn both a B.F.A. and an M.F.A. from the Yale School of Art and Architecture in 1961. Mazur's first teaching job was at the Rhode Island School of Design from 1961 to 1964. He was awarded a Guggenheim Foundation fellowship for 1964–65. From 1965 to 1976, he taught at Brandeis University, and from 1976 to 1978 at Harvard University. As an artist, teacher, and writer, Mazur has been active in reviving the monotype process. He contributed an essay to the pioneering exhibition catalogue The Painterly Print, published by the Metropolitan Museum of Art in 1980. Mazur recently chaired the New Provincetown Print...