GUERRERO GALERIA DE ARTE Abstract Prints

Untitled is an original artwork realized by Wifredo Lam in the 1960s. Black and white drypoint. Hand signed in pencil by the artist. Artist's proof (EA hand written on the lower le...

Original Lithograph. Not signed. Plate VII from the suite of 11 lithographs realized for the catalogue "Mirò Lithographe I" edited by Graphis Arte, Livorno and Toninelli Arte Moderna...

Title: Dalinean Prophecy Year: 1975 Medium: Engraving with pochoir on Arches paper Edition: 250 Arabic Numerals on Arches paper, 250 (I = International) Arabic Numerals on Rives paper, 75 Roman Numerals on Japon paper, 25 Roman Numeral proofs (EAs) on Japon paper, and 5 Roman Numeral proofs (HCs) on Japon paper. Size: 22.25 x 30.25 inches Condition: Excellent Inscription: Signed and numbered by the artist. Notes: Published by Merrill Chase Publishing Associates. Albert Field Catalog Reference #: 75-13. SALVADOR DALI (1904-1989) Salvador Dali's work is associated with the surrealist movement of the 20th Century. A diverse and multi-talented artist, Dali is considered one of the most collected artists today, and his works offer an incredible opportunity for enormous appreciation in value. In addition to his original works, Dali produced works on paper for reproduction using dry point, etching, woodcut, and lithography. Many of his works are held in prestigious private and public collections world...

Artist: Salvador Dali Title: Surrealist Portrait of Dali Surrounded by Butterflies Portfolio: Memories of Surrealism Medium: Etching and photolithograph Date: 1971 Edition: AP XIV/XX...

This is an original drypoint realized by Joan Miró in 1975. Hand signed in pencil on the lower right and numbered on the lower left. Edition of 75 prints. It represents an abstract s...

Hans Bellmer, Untitled (Two Nudes), engraving and drypoint, 1971, edition 99. Signed and numbered '94/99' in pencil. A fine impression, on Arches cream wove paper; the full sheet wit...

A very good impression of this color drypoint on Japon nacré. Artist's proof, aside from the edition of 270. Signed and inscribed "EA" in pencil. Published by Vision Nouvelle, Paris....

"Miró Lithographe II - Plate VIII" is an original lithograph realized by Joan Miró in 1975. Perfect conditions. It comes from the set of 11 lithographs realized for the catalogue "M...

This is an original etching and drypoint realized by Joan Miró in 1975. Hand signed in pencil on the lower right and numbered on the lower left. Edition of 75 prints. It represents ...

Image dimensions: 33.5 x 47.5 cm. Le Lézard aux Plumes d'Or is a beautiful color lithograph on tissue paper, realized in 1971 by the Spanish Surrealist artist, Joan Mirò (Montroing ...

Lawrence Kupferman, 'European Landscape', drypoint, edition 50, 1942. Signed, dated, titled, and numbered '7/50' in pencil. A superb, finely nuanced impression, on cream wove paper; the full sheet with margins (1 to 1 3/4 inches); in excellent condition. Image size 10 7/8 x 13 3/8 inches; sheet size 13 1/8 x 16 1/2 inches. Archivally matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Syracuse University Art Museum. ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Hans Bellmer, 'Blue Eyes', engraving and drypoint, edition 99, 1971. Flahutez 89. Signed and numbered '74/99' in pencil. A fine impression, on Arches cream wove paper; the full sheet...