International Fine Arts Consortium - IFAC Arts Nude Prints

Hand Signed. Edition of 90 pieces. Very good conditions.

Tracey Emin I Could Feel You, 2015 Archival quality giclée print on Purcell Ultrasmooth Fine Art Paper 300 GSM 9 1/2 × 12 inches Plate signed Unframed Rare archival quality, giclée reproduction of Tracey Emin's original gouache I Could Feel You, which is in the permanent modern art collection of the Tate. This was printed back in 2015 in an undisclosed limited edition, and is now long sold out. More details about the original 2014 work are on the Tate Gallery's website as follows: Emin, whose work is often candidly autobiographical, scrutinises her relationship with her own body, using drawing...

Woman With A Flower is a colored lithograph on Fabriano paper realized by the artist Michael Ciomakov in the 1970s . Hand-signed in pencil on the lower right. Numbered on the lowe...

Artist: Henry Moore (British, 1898-1986) Title: Dame Creole Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches Image size: 18.5 x 15 inches paper size: 18.5 x 15 i...

Artist: Henry Moore (British, 1898-1986) Title: Three Reclining Figures Year: 1976 Medium: Color lithograph Edition: 110 Paper: Arches I...

Artist: Keith Haring, American (1958 - 1990) Title: New Year's Invitation 1988 Year: 1988 Medium: Silkscreen on Paper Image Size: 11 x 8 inches This bears a printed signature. It is not hand signed as issued. Keith Allen Haring (May 4, 1958 – February 16, 1990) was an American artist and social activist whose work responded to the New York City street culture of the 1980s by expressing concepts of birth, death, sexuality, and war. Haring's work was often heavily political and his imagery has become a widely recognized visual language of the 20th century. Keith Haring was born in Reading, Pennsylvania, on May 4, 1958. He was raised in Kutztown, Pennsylvania, by his mother Joan Haring, and father Allen Haring, an engineer and amateur cartoonist. He had three younger sisters, Kay, Karen and Kristen. Haring became interested in art at a very early age spending time with his father producing creative drawings. His early influences included Walt Disney cartoons, Dr. Seuss, Charles Schulz, and the Looney Tunes characters in The Bugs Bunny Show. In Haring's teenage years, he left his religious background behind and hitchhiked across the country, selling vintage t-shirts and experimenting with drugs. He studied commercial art from 1976 to 1978 at Pittsburgh's Ivy School of Professional Art but lost interest in it. He made the decision to leave after having read Robert Henri's The Art Spirit (1923) which inspired him to concentrate on his own art. Haring had a maintenance job at the Pittsburgh Center for the Arts and was able to explore the art of Jean Dubuffet, Jackson Pollock, and Mark Tobey. His most critical influences at this time were a 1977 retrospective of the work of Pierre Alechinsky and a lecture by the sculptor Christo in 1978. Alechinsky's work, connected to the international Expressionist group CoBrA, gave Haring confidence to create larger paintings of calligraphic images. Christo introduced him to the possibilities of involving the public with his art. Haring's first important one-man exhibition was in Pittsburgh at the Center for the Arts in 1978. He moved to New York to study painting at the School of Visual Arts. He studied semiotics with Bill Beckley as well as exploring the possibilities of video and performance art. Profoundly influenced at this time by the writings of William Burroughs, he was inspired to experiment with the cross-referencing and interconnection of images. He first received public attention with his public art in subways. Starting in 1980, he organized exhibitions at Club 57, which were filmed by the photographer Tseng Kwong Chi. Around this time, "The Radiant Baby" became his symbol. His bold lines, vivid colors, and active figures carry strong messages of life and unity. He participated in the Times Square Exhibition and drew animals and human faces for the first time. That same year, he photocopied and pasted provocative collages made from cut-up and recombined New York Post headlines around the city. In 1981, he sketched his first chalk drawings on black paper and painted plastic, metal, and found objects. By 1982, Haring had established friendships with fellow emerging artists Futura 2000, Kenny Scharf, Madonna and Jean-Michel Basquiat. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world. His "Crack is Wack" mural, created in 1986, is visible from New York's FDR Drive. He got to know Andy Warhol, who was the theme of several of Haring's pieces, including "Andy Mouse". His friendship with Warhol would prove to be a decisive element in his eventual success. In December 2007, an area of the American Textile Building in the TriBeCa neighborhood of New York City was discovered to contain a painting of Haring's from 1979. In 1984, Haring visited Australia and painted wall murals in Melbourne (such as the 1984 'Detail-Mural at Collingwood College, Victoria') and Sydney and received a commission from the National Gallery of Victoria and the Australian Centre for Contemporary Art to create a mural which temporarily replaced the water curtain at the National Gallery. He also visited and painted in Rio de Janeiro, the Musée d'Art Moderne de la Ville de Paris, Minneapolis and Manhattan.[9] He became politically active, designing a Free South Africa poster...

Lithograph on vélin realized by Giacometti for Derrière le Miroir n. 127, in 1961. Ref. lust 160; ADG (Alberto Giacometti's Database) 342. Very good condition.

Pink Nude is a screen print realized by Nicola Simbari in 1976. Hand signed and dated on the lower right margin. Numbered on the lower left. Edition of 50. The artwork represents ...

Reclining Cubist Nude Woman Max Weber (April 18, 1881 – October 4, 1961) was a Jewish-American painter and one of the first American Cubist painters who, in later life, turned to more figurative Jewish themes in his art. He is best known today for Chinese Restaurant (1915), in the collection of the Whitney Museum of American Art, "the finest canvas of his Cubist phase," in the words of art historian Avis Berman. Born in the Polish city of Białystok, then part of the Russian Empire, Weber emigrated to the United States and settled in Brooklyn with his Orthodox Jewish parents at the age of ten. He studied art at the Pratt Institute in Brooklyn under Arthur Wesley Dow. Dow was a fortunate early influence on Weber as he was an "enlightened and vital teacher" in a time of conservative art instruction, a man who was interested in new approaches to creating art. Dow had met Paul Gauguin in Pont-Aven, was a devoted student of Japanese art, and defended the advanced modernist painting and sculpture he saw at the Armory Show in New York in 1913. In 1905, after teaching in Virginia and Minnesota, Weber had saved enough money to travel to Europe, where he studied at the Académie Julian in Paris and acquainted himself with the work of such modernists as Henri Rousseau (who became a good friend), Henri Matisse, Pablo Picasso, and other members of the School of Paris. His friends among fellow Americans included some equally adventurous young painters, such as Abraham Walkowitz, H. Lyman Sayen, and Patrick Henry Bruce. Avant-garde France in the years immediately before World War I was fertile and welcoming territory for Weber, then in his early twenties. He arrived in Paris in time to see a major Cézanne exhibition, meet the poet Guillaume Apollinaire, frequent Gertrude Stein's salon, and enroll in classes in Matisse's private "Academie." Rousseau gave him some of his works; others, Weber purchased. He was responsible for Rousseau's first exhibition in the United States. In 1909 he returned to New York and helped to introduce Cubism to America. He is now considered one of the most significant early American Cubists, but the reception his work received in New York at the time was profoundly discouraging. Critical response to his paintings in a 1911 show at the 291 gallery, run by Alfred Stieglitz, was an occasion for "one of the most merciless critical whippings that any artist has received in America." The reviews were "of an almost hysterical violence." He was attacked for his "brutal, vulgar, and unnecessary art license." Even a critic who usually tried to be sympathetic to new art, James Gibbons Huneker, protested that the artist's clever technique had left viewers with no real picture and made use of the adage, "The operation was successful, but the patient died."[8] As art historian Sam Hunter wrote, "Weber's wistful, tentative Cubism provided the philistine press with their first solid target prior to the Armory Show." The Cellist...

Lithograph in colors on paper. Hand signed lower right by Douglas Hofmann. From the edition of 300. Hand numbered lower left. Artwork is in excellent condition. Certificate of ...

Woman With Parrot is a very colorful lithograph realized by the artist Michael Ciomakov in the 1970s . Hand-signed in pencil on the lower center. N...

Yayoi Kusama Driving Image Show: An impossibly rare 1960s Kusama exhibition poster/brochure, published on the occasion of: Yayoi Kusama at Galleria del Naviglio Milan: Jan. 26-Feb. ...