Warrington Colescott Art

Jean Jansem (1920-2013) Mère et enfant, 1989 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 67 x 50,5 cm / 76 x 54 cm Bibliographie: Imprimeu...

Starry Night is a lithograph based on a watercolour by Charlie Mackesy. The edition is limited to 150 and each piece has been signed by Charlie Mackesy...

Rodeo Queen, 1981 Edition 36/50 Signed lower left, Inscribed: for the "Rose" 82. Provenance: Print was a gift to Rozanne Charington, companion and model for "Rodeo Queen", "Rose Tattoo" and "Jimenez at Adeliza's Candy Store". Lithograph on paper 42 ½ × 29 in. (107.3 × 73.7 cm) Luis Alfonso Jimenez Born, 1940, El Paso, Texas, died 2006, Hondo, New Mexico. Statement: Luis Jimenez, in his work, celebrates the vitality of life. . . . Jimenez es un hijo de la frontera; he knows its people and the landscape. It is the transformation of these people into art that is his most important contribution to the art of this vast region which stretches between Mexico and the United States. His subject matter utilizes the popular images of the cultura del norte, and a large part of it is depicted and transformed in the rough and tumble world of la frontera. He is also a son of el norte, and so he uses its materials and explores its emerging, popular myths. The tension and attraction of Jimnez’s work is that he always creates within the space of his two worlds, the Mexicano and the Americano. He constantly shows us the irony of the two forces which repel, while showing us glimpses of the synthesis he seeks. What a gift it has been to us for this talented artist to reflect on the soul of our region. He gives meaning to our existence and history. Rudolfo Anaya (passage chosen by the artist), A View from La Frontera, Man on Fire: Luis Jimenez, pp. 1, 3, 6Biography: Luis Jimenez was born in Texas to parents who had emigrated from Mexico to the United States; he would later dedicate his 1989 sculpture Border Crossing to his father, who had entered the country illegally. The elder Jimenez was a neon sign designer in El Paso, and Luis worked with him as a youth. His experience working in the neon shop and his fascination with U.S. car culture would both become major influences on his art career. Jimenez studied architecture at the University of Texas, Austin (UTA), and also took art courses in which he first created sculptures with wood, steel, and fiberglass, choosing the latter because of its association with U.S. popular culture. He subsequently became one of the artists who made fiberglass an acceptable medium in the 1960s. In 1964 Jimenez received his B.S. in art from UTA, and he continued his studies at the Universidad Nacional Autonoma de Mexico in Mexico City. In 1966 he moved to New York City and worked as an assistant to sculptor Seymour Lipton. Jimenez began to exhibit his art while in New York and in 1972 moved to New Mexico to focus on creating public sculptures, even as he maintained his diverse output of drawings, prints, and lithographs. Drawing on his early experiences, Jimenez creates works that come from a border perspective, one that draws upon the hybridity bred by culture clashes. Often socially and politically informed, his works speak not only in regional terms, those germane to the southwestern United States, but to broader, more global issues as well. They exhibit a profoundly Chicano aesthetic and sensibility, one that is informed by Mexican and Mexican American traditions, North American popular culture, Chicano cultural icons, and images and themes unique to the Southwest. Death, sexuality, and the struggle of the common people are frequent themes. Inspired by authors who write in an autobiographical style, Jimenez creates works that function as personal narrative yet are also able to make statements about culture in more global terms. His use of bold colors and lines, a legacy from his fathers work as a neon sign maker, lends a dynamic sensuality to his work, one that is particularly evident in his monumental fiberglass and acrylic urethane sculptural works Many of Jimenez's works correspond to scholar Toms Ybarra-Fraustos definition of the Chicano aesthetic of rasquachismo, a lowbrow sensibility that appeals to the working class in that it applies to objects that subvert expressions of the mainstream or dominant culture. Creating art that speaks to the people, Jimenez is able to transform regional and culturally specific myths and symbols into globally recognized and relevant icons. Exhibitions: In addition to his personal work, Jimenez has been commissioned for numerous public art projects. In 1999 his sculpture Southwest Piet was designated a National Treasure by First Lady Hillary Clinton. The many exhibitions featuring his work have included Human Concern/Personal Torment (Whitney Museum of American Art, New York, 1969). The First International Motorcycle Art Show (Phoenix Art Museum, Phoenix, AZ, 1973). Three Texas Artists (Centre Cultural Americaine, USIS, Paris, 1977), Recent Trends in Collecting (Smithsonian Institution, Washington, DC, 1982). Committed to Print (Museum of Modern Art, New York, 1989) Printmaking in Texas: The 1980s (Modern Art Museum, Fort Worth, TX. Laguna Gloria Art Museum, Austin, 1990. The Whitney Biennial (Whitney Museum of American Art, New York, 1991) Man On Fire: Luis Jimnez (Albuquerque Museum of Art, NM, 1994-95). 47th Annual Purchase Exhibition (American Academy of Arts and Letters, New York, 1995). Traveling solo exhibition, Working Class Heroes: Images from the Popular Culture (1997-2000). Jiménez Collier Gallery has been in continuous operation for over 40 years. Originally located just off Main Street in downtown Scottsdale, Arizona, we have moved to Phoenix to accommodate and showcase our large inventory including: • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

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 ...

Published by the Royal Academy

Etching on wove paper. Signed and numbered by the artist in pencil. Published by Galerie Le Long. *This print is supplied within a clamshell box, with book of the same name, as iss...

Jean Jansem (1920-2013) Ballerine sur fond vert, 1995 Lithographie sur papier Arches, justifiée et numérotée 48/100 Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: ...

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

This set of 12 Serigraphs , each mounted on board, was published in Avant Garde Magazine in March, 1968. Avant Garde magazine only published 14 issues between January 1968 and July 1...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

Jean Jansem (1920-2013) Sophie aux bas rouges, 1993 Lithographie sur papier Arches, justifiée E/A Signée en bas à droite 66 x 50 cm / 76 x 56 cm Bibliographie: CR Jansem, 2000, n°...

Titled Ledoux, color limited edition lithograph. Hand signed by artist in pencil to right hand corner, 101/150 to left. 19.5" X 14" print view area. This is done in a Postmodernist, Memphis Milano style. Valerio Adami (born 17 March 1935) is an Italian painter. Educated at the Accademia di Brera in Milan, he has since worked in both London and Paris. His art is influenced by Pop Art. Adami was born in Bologna. In 1945, at the age of ten, he began to study painting under the instruction of Felice Carena. He was accepted into the Brera Academy (Accademia di Brera) in 1951, and there studied as a draughtsman until 1954 in the studio of Achille Funi. In 1955 he went to Paris, where he met and was influenced by Roberto Matta and Wifredo Lam. His first solo exhibition came in 1959 in Milan. In his early career, Adami's works were expressionistic, but by the time of his second exhibition in 1964 at Kassel, he had developed a style of painting reminiscent of French cloisonnism, featuring regions of flat color bordered by black lines. Unlike Gauguin, however, Adami's subjects were highly stylized and often presented in fragments. In the 1970s, Adami began to address politics in his art, and incorporated subject matter such as modern European history, literature, philosophy, and mythology. In 1971, he and his brother Giancarlo created the film Vacances dans le désert. In 1974 he illustrated a Helmut Heissenbuttel poem, Occasional Poem No. 27. Ten Lessons on the Reich with ten original lithographs {Galerie Maeght}. In 1975, the philosopher Jacques Derrida devoted a long essay, "+R: Into the Bargain", to Adami's work, using an exhibition of Adami's drawings as a pretext to discuss the function of "the letter and the proper name in painting", with reference to "narration, technical reproduction, ideology, the phoneme, the biographeme, and politics". The Galerie Maeght is a gallery of modern art in Paris, France, and Barcelona, Catalonia, Spain. The gallery was founded in 1936 in Cannes. The Paris gallery was started in 1946 by Aimé Maeght. The artists exhibited are mainly from France and Spain. Since 1945, the gallery has presented the greatest modern artists such as Matisse, Bonnard, Braque, Miró, and Calder. In 1956, Adrien Maeght opened a new parisian venue. The second generation of “Maeght” artists was born: Bazaine, Andre Derain, Giacometti, Kelly, Raoul Ubac, then Riopelle, Antoni Tapies, Pol Bury and Adami, among others. There were four retrospective exhibits of Adami's work between 1985 and 1998. They were held in Paris, the Centre Julio-Gonzalez de Valence (Spain), Tel Aviv, and Buenos Aires. In 2010, the Boca Raton Museum of Art devoted a special exhibit to Adami's Post Modern paintings and drawings. Derriere le Miroir, the editor was Aimé Maeght. Derrière le Miroir is a French art magazine created in 1946 and published until 1982...