California - Figurative Prints

Japanese Artisans - Japanese Woodblock Print J Japanese woodblock depicting six women, all wearing vibrant kimonos, working on crafts by Tosa Mitsuoki (Japanese, 1617-1691). Japanese,c. 1600. Handcraft depiction (dye works).Section from a painted screen with presentations of handcraft.Kita-in, Saitama. Stamped lower left. Presented in a white mat and giltwood frame. Frame: 19"H x 14"W Mat: 18.25"H x 13.25"W Image: 14.5"H x 9.5"W Tosa Mitsuoki was a Japanese painter, reinvigorating the Yamato style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period. Yamato, sometimes referred to as wa or kazu had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e. Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs, icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places, meisho, the four seasons, shik, bird-and-flower, kacho. Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls kakemono, or handscrolls that would be read from right to left with the accompanied story, sliding doors fusuma and folding screen panels byobu that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to Song dynasty and Yuan dynasty Chinese court paintings...

Medium: Mezzotint Year: 2023 Edition: 50 Image Size: 11.75 x 17.5 inches Pedestrians sheltering from the rain under umbrellas in an urban downtown setting, Art Werger’s prints show...

This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757. This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island...

KURT SELIGMANN (1900–1962 American, born in Switzerland,) LA SORCIERE - (The Witch) 1934 Etching and aquatint, unsigned ? possibly a proof aside from The ...

Artist: Ewa Juszkiewicz Title: Untitled (2021) Year: 2023 Medium: Archival pigment print with screenprinted varnish on Canson Etching Rag Paper 310gsm ...

'Red Demon and Blue Demon with 48 Arthats' is a large-format offset lithograph by Takashi Murakami, image size 28 x 46.5 inches and framed size 37.5 x 56 inches. From the edition of 300, signed lower right and numbered 191/300. Framed in a contemporary, white frame. In the 2017 monograph, ‘The Octopus Eats its Own Legs’, Michael Dylan Foster writes, “Akiko Miki has noted that in his more recent work Murakami has made a ‘shift not only to being concerned with the notion of religion – a main component, along with capitalism, behind the creation of art – but also towards a more serious engagement with the traditions of Japanese art.’ These concerns, manifested in his explicit invocations of folkloric imagery and creatures from both religion and art, are particularly apparent in ‘The 500 Arhats,’ his monumental twenty-four-paneled, 100-meter-long painting. The work portrays five hundred wizened and grotesque arhats, Buddhist religious figures who, as art historian Nobuo Tsuji puts it, ‘normally… stay in the mountains practicing religious austerities, only appearing after a fire, tsunami, earthquake, or some other disaster has occurred, as a kind of rescue team.’ The gargantuan painting represents Murakami’s interest in creating – in the wake of Japan’s tragedy of earthquake, tsunami, and nuclear disaster on March 11, 2011 – ‘a work of art that would be deemed indispensable to our times.’ The inspiration came directly from a series of exchanges between Murakami and Tsuji, whose critical work the artist had long admired.” Regarding the red and blue demons in the present artwork, these are allusions to Japan’s folkloric tradition of ‘oni’ – ogre or devil-like creatures who in ancient times were associated with bad fortunes and events, but in modern times are more ambiguous. “…Murakami’s invocation of the oni suggests that – unlike his arhats, or his baku and hakutaku – these beings have not come as part of the post-disaster ‘rescue team’ but may represent the very inhuman forces that cause disaster. A closer examination of the figures, however, reveals that Murakami has incorporated other cultural allusions that complicate a one-sided interpretation. …these poses are reminiscent of the so-called Niō guardian...

'Hot Licks' by Prefab 77, 2015 6 Colour Screenprint on 330gsm Black Plike. size: 70 x 100 cm (WxH) Limited Edition of 50 (#5/50). Stamped, Numbered and Hand-Signed by the Artiist Cer...

Jade Pea God is a unique, trial-proof screenprint, 34 x 39" sheet size, signed ‘Kenny Scharf’ lower right corner and numbered lower left corner ‘TP23/40.’ Framed in a contemporary, ...

REYNOLD WEIDENAAR (1915 - 1985) THE BURRO STATION, 1946, Etching and drypoint on paper, Signed and titled in pencil from an edition of unknown size. Plate: 17" x 13": Sheet: 20.75" x 15.75". One of a pair of large format Mexican etchings...

This early 19th century etching entitled "Veduta dello scavo del Foro Trajano" was created by Luigi Rossini and included in his publication "Le Antichita Romane" (The Rome of Antiquity), published in Rome in 1823. It depicts the historical victory column of Trajan standing amidst the rubble of broken columns that remain around it. The etching is presented in a black wood frame with a light brown outer mat and a dark brown inner mat. There are several frame abrasions. The print and mats are in very good condition. The frame measures 27" high, 29.07" wide and 0.5" deep. The print is framed and matted in the identical style as the another etching of an ancient Roman landmark, the Piazza Navona, which is also listed on 1stdibs, see item # LU117326144172. The pair would make an attractive display grouping of Roman architecture. A discount is available for purchase of the pair of prints. Luigi Rossini (1790-1857) like his predecessors, Giovanni Piranesi (1720–1778) and Giuseppi Vasi (1710-1782), was an architect and artist. Like Piranesi and Vasi, he wanted to glorify the architecture of ancient Rome, which he felt was deteriorating and needed to be documented. Several of the ruins he illustrated have, in fact, since disappeared leaving only his images as a record of their appearance. His images of the grand edifices of the city dramatically depict the power and glory...

"Faded Jeans + Stuff" - Surrealist Colored Etching #10/20, 1976 Surrealist landscape with creatures by James C. Crabb (American, b. 1947). There is a low horizon, with objects that ...

This artwork titled "Les Montgolfieres, Place de la Concorde, Paris" 1987 is a original colors lithograph on Arches paper by French artist (Fanch, Francois Ledan, born 1949) It is hand signed and numbered 67/250 in pencil by the artist. The image size is 25.25 x 19.5 inches, framed is 37.25 x 31.25 inches. Printed by Atelier d'Art Dejobert, Paris, with their blind stamp at the lower left corner. Custom framed in a wooden gold frame, with off white matting. It is in excellent condition. About the artist: Francois "Fanch" Ledan (b. 1949) is noted for colorful scenes of his native Brittany. In 1968 he abandoned his studies in commercial design for full-time studies in painting and fine art. His talent was quickly recognized and soon he was involved in major European shows. He became involved in printmaking in 1973 when he learned lithography in Paris. Since then he has had numerous one-person shows in Europe, North America and South America. His paintings and lithographs from the 1970's and 1980's display characteristics often associated with "naïve" art. His views of Paris, a city which has embraced naïve art, display the attention to detail, In the 80's he turned to more brightly colored paintings and again a connection to Impressionism. He began to work on paintings that he refers to as "interior...

This artwork titled "Vent du Nord, Coree" 1953 is an original color woodcut by French artist Paul Jacoulet, 1896-1960. It is hand signed in pencil by the artis...

Artist: Hans Figura (Austrian, 1898-1978) Title: The Bridge House Year: Circa 1950 Medium: Color etching with aquatint on silk Edition: Unknown Plate mark (Image) size: 10 ...

Courtesan at Yoshiwara Edomachi - Figurative Japanese Woodblock Print on Paper Full color woodcut print of two women in elaborate gowns by Utagawa Yoshiiku (Ochiai Yoshiiku) (Japanese, 1833-1904). Two women are dressed in colorful robes with crossed arms. They are underneath a plum blossom tree in bloom, at night. In the background there is a building with many rooms. Valuable polychrome woodblock print of vertical large oban (大判) format made by Utagawa Yoshiiku (歌川芳幾), the famous artist also known as Ochiai Yoshiiku (落合芳幾), and depicting the courtesan Shizuka (しづか), of the house of pleasure Matsumotoro (松本楼), together with her young kamuro (禿) assistant. The couple is escorted by a kanabohiki (金棒引き) watchman holding a lantern and a metal rod with rings to make noise and alert the crowd. The work, produced in August 1869 by the publisher Tsunajima Kamekichi (綱島亀吉), is taken from the “Twelve Months of Yoshiwara” (よし原十二ヶ月のうち), an elegant series of prints dedicated to the famous red light district of Edo (江戸), and is paired with the “month of leaves” Hazuki (葉月), that is August. Ochiai Yoshiiku (Japanese, 1833-1904) was an ukiyo-e artist from the end of the Edo Period to the Meiji Period. He has created works which are essential to the history of ukiyo-e, such as“Twenty-eight Famous Murders with Verse”, a series of chimidoro-e (bloody paintings) which Yoshiiku and Tsukioka Yoshitoshi collaborated together, and “Shimbun (newspaper) Nishiki-e” that illustrated Meiji news articles with ukiyo-e. Born the son of teahouse proprietor Asakusa Tamichi in 1833, Yoshiiku became a student of ukiyo-e artist Utagawa Kuniyoshi toward the end of the 1840s. His earliest known work dates to 1852 when he provided the backgrounds to some actor prints by his master. Yoshiiku's earliest works were portraits of actors (yakusha-e), beauties (bijin-ga), and warriors (musha-e). He later followed Kuniyoshi into making satirical and humorous pieces, and became the leading name in the field after Kuniyosh's death in 1861. He illustrated the Tokyo Nichi Nichi...

Washington At Pohick Church - 1932 Etching On Paper 1932 black and white etching depicting George Washington at Pohick Church by Ernest David Roth (German, 1879-1964). George Washin...

This artwork "Untitled" is a color off set lithograph by acclaimed Iranian artist Mahmoud Farshchian, born 1930. It is hand signed and numbered 23/3...

Signed and titled in pencil, from the edition of 25. A young native girl in traditional clothes. The turbulent times of the 70’s set the tone for Fuentes' approach to creating soc...

Modern abstract etching with hard edges of the printing plate contrasting with the soft dark gray tones inside the figurative centerpiece. Titled "Falling Figures, Decayed State", "E...

JOSE CLEMENTE OROZCO (Mexican, 1883-1949) MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26) Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...

This is a hand-colored copper plate engraving entitled "Matricaria Flore Simplici, Matricaria Flore Pleno, depicting flowering Feverfew and Double-flowered Feverfew plants, from Basilius Besler's landmark work, Hortus Eystettensis (Garden at Eichstatt), first published in 1613 in Eichstatt, Germany near Nuremberg and later in 1640 and 1713. The feverfew plant is also known as featherfew, featherfoil, or bachelor’s buttons...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

This artwork titled "Wien Opernring" 1921, is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed by the estate in pencil at the lower center. The plate mar...

"lost + found" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "lost + found" by Jim Crabb (American, b. 1947). This piece features an arachnid-like...

**ANNUAL SUPER SALE UNTIL APRIL 15TH ONLY** *This Price Won't Be Repeated Again This Year-Take Advantage Of It* Celebrating the Academy in this original and limited Os...

This artwork titled "Pierrot" 1984 is an original colors lithograph on Wove paper by noted American artist Sheldon C. Schoneberg, 1926-2012. It is hand signed, titled and numbered 81/100 in pencil by the artist. Published by Michel Caza, Paris, France. The image size is 20.75 x 26.25 inches, sheet size is 24.75 x 33 inches. With the stamp of the artist at the lower left corner, and the printer's at the lower right corner. It is in excellent condition, has never been framed. About the artist: Born in Oak Park, Illinois; family moves to Beverly Hills; Attends El Rodeo, Beverly Hills High then Chouinard Art Institute, Los Angeles; University of Southern California, BFA cum laude. MFA, 1951; Academia di Belle Arti, Rome, 3rd Year Certificate; Universidad Michoacana, Morelia, Mexico, 1952, Graduate School - Fresco Printings. TEACHING: Santa Monica College, 1947; Hollywood Art Center School 1948; Pratt University, New York, 1950; Academic Rank of Full Professor of Art - University of New York, New Paltz, 1964 and University of Southern Maine 1967; Master Drawing Classes, Paris-American Academy of Art, Paris, France 1984-1985, Drawing, Painting and Contemporary Art History- University of New England, Biddeford, Maine 1993 - 2002. CYCLES OF WORKS IN ART: • Biblical, American Indian, Rome 1948-62, Oil Paintings • Drawings Wash and Ink, Wood and Ink, Sepia Conte and Ink, Pastels 1940-1968, California, New York, Maine • Archetypal Frescos 1948-55, Mexico, California, Israel • Goyescas, Satiric Ink and Wash Sketches, Spain and Greece 1954-1962 • Tapestries of the Zodiac 1961-1963, Spain • Para-Mandalas, Collages, Mixed-Media, Oil Paintings 1961-1967 • Flower-Children Series and Flag Series, Charcoal Pastel Drawings, California and Maine 1965-2008 • Bas-Relief polyester Resin Sculpture, Bronze Sculpture, 1966-1968 • The Centaurs Garden Suite, Centre Genevois de Grauvure Contemporaine, Geneva, Switzerland, lithographs on stone and etchings 1971 • Oil Paintings,Landscapes, Portraits, Nudes and Still Lifes, Mykonos, Greece, Spain, California, France, Mexico, Maine, British Columbia, Switzerland 1960-2008 • Barbary Coast Drawings, Full Color and Monochromatic 1967-1994 • The Apocalypse Series, Acrylic and Oil Paintings, Drawings 1973-1983 • Charcoal Pastel Drawings, California, Maine, France, Switzerland 1946-2008 • Metamorphous Series, Charcoal Pastel Collage Drawings on Museum Board 1987-2008 • Collage Series Drawings, San Francisco, Limington, New paltz, Los Angeles 1958-2008 • Poster Series, 90+ Charcoal Pastel Drawings on Museum Board 1985-2008 • Fayum Portrait Series, Charcoal-Pastel and Fauve Drawings 1992-2008 • Formal and Informal Portraits - Oil Paintings, Drawings, Models, Commissions, Compositions, Re-Creations 1942-2008 • Murals- Commissiond, Given and Inspired Oil paintings, Drawings, Acrylic Paintings, Collage Drawings 1936-2008 • Maquettes-100+ small original Charcoal Pastel Drawings for commissions 1970-2008 • The Great Masters of Art Series 1998-2008 • Flower Oil Paintings on Canvas ( Sunflowers, Hydrangas,etc) 2000-2008 EXHIBITIONS: INTERNATIONAL: COMBINED TOTAL OF 214, INCLUDING 82 ONE_MAN EXHIBITIONS. A SELECTION FOLLOWS. • Museum of Munich 1948 • Museum of Morelia, Michoacan, Mexico 1952 • Hellenic-American Union, Athens, Greece 1961 • Casa de Cultura, Malaga, Spain 1964 • Exposition Internationale d'Art de Mode, Val de Grace, Paris, France • 20th Anniversaire Paris American Academy 1985 • Gallery International Inc, St Maarten, Netherlands Antilles 1990-93 • National Museum of Mexico,D.F.1970-2008 Genesis Fresco 12'x35' • Galerie du Carlton, La Croisette, Cannes, France 1964-78 • Galerie des Champs-Elysees, Paris, France 1966-78 • Galeria "M" Copenhagan, Denmark 1967 • Galerie del Cisne, Madrid, Spain • Upper Grosvenor Galleries, London England 1966-68 • Kunsthandel Monet, Amsterdam Holland 1960-80 • Harrison Galleries, Vancouver BC Canada 1970-2008 • Guild Gallerie Calgary, Canada 1975-98 SELECTED EXHIBITIONS: USA • University of Southern California 1950 • Palos Verdes Community Galleries, CA 1955 • Cowie Galleries, Los Angeles, CA 1956 • Los Angeles Municipal Galleries, Barnsdall, CA " Art of the Mural" 1959 • Maxwell Galleries, San Francisco, CA 1962-63 • Raymond Burr Galleries Beverly Hills, CA 1961-64 • Gallery 235, Chicago,IL 1967 • Triton Museum of Art, Santa Clara CA (Retrospective 1969-2008) • Lars Laine Art Galleries, Palm Springs, CA 1969-84 • Two Squares Gallery, Denver, CA 1966-70 • Fisk University Art Museum, Nashville TN 1968 • Lewis Galleries, Omaha Nebraska 1973-2008 • Talberts Galleria Tacoma, WA 1978-2008 • Lyon Art Gallery San Francisco CA 1974-1980 • Owl 57 Galleries Woodmere NY 1979-2008 • Walt Kuhn Galleries, Cape Neddick...

ROBERTO MATTA (Chilean 1911- 2002) NEW SCHOOL PORTFOLIO (1943-5) (Sabatier 1-7, 4 prints not recorded by Sabatier) Portfolio with complete set of 10 etch...

General Washington Saying Farewell to His Officers in Fraunces Tavern, New York This etching, 'General Washington Saying Farewell to His Officers in Fraunces Tavern, New York', was ...

BERNARD (JOSEPH) STEFFEN (1907 – 1980) PULLING CORN (FODDER HOPPER) c. 1935-45 Color serigraph signed with a full signature below the image at the lower right sheet edge . Unknown e...

YOU ARE HERE by Ramona Nordal, 2022 Size: Image 12 x 16 inches, Paper 14 x 18 inches Giclee Print on Hahnemühle Photo Bright White Rag Numbered (2/5) and signed by the artist COA (Ce...

Artist: (Romain De Tirtoff) Erte (Russian, 1892-1990) Title: Lady with a Rose Year: 1980 Medium: Color serigraph Edition: Numbered 180/300 in pencil Image size: 13.75 x 9 inches Framed size: 29.25 x 22 inches Signature: Hand signed in pencil Condition: Excellent Frame: Custom framed in a wooden silver frame, with silver color bevel and fabric matting Description: Created 1980, published 1985. With the blind stamp of the publisher, Circle Fine Art, Chicago IL at the lower left side About the artist: Romain Erte was born Romain de Tirtoff in St. Petersburg, Russia. The only son of an admiral in the Imperial Fleet, he was raised amidst Russia's social elite. As a young boy, he was fascinated by the Persian miniatures he found in his father's library. These exotic, brightly patterned designs continued to be important to him and influenced the development of his style. He moved to Paris at the age of eighteen and took the name Erte, from the French pronunciation of his initials, R and T. In 1915 he began his long relationship with Harper's Bazaar, during which time he created over 240 covers for the magazine. His fashion designs also appeared in many other publications, making him one of the most widely recognized artists of the 1920s. He also designed costumes and sets for the theater. In 1976 the French government awarded Erte the title of Officer of Arts and Letters, and in 1982 the Medaille de Vermeil de la Ville de Paris was bestowed upon him. His work is in many prominent museums, including the Metropolitan Museum of Art in New York, the Los Angeles County Museum, the Smithsonian Institution in Washington, D.C., and the Victoria and Albert Museum in London. The designs created by Erté during his long and illustrious life influenced not only the world of theatre, film and fashion, but an entire art movement as well. The genius of the artist is evidenced by an enormous body of work that is considered among the most influential and unique of the 20th century. Erté—Romain de Tirtoff—was born in Russia in 1892, and died at age 97 in 1990. His legendary career spanned nearly the entire length of his life. In 1912, Erté moved to Paris and his unique talent was immediately recognized by the city's most established couturiers. In 1915, he began an association with Harper's Bazaar by designing covers of each of their magazines for the next 22 years. The influence of his work as a result of the high visibility of this periodical influenced an entire art movement that was to become known as "Art Deco". Throughout this period, the artist also created original costume and fashion designs for many of the era's most renowned screen actresses, including Joan Crawford, Lillian Gish, Marion Davies, Anna Pavlova, Norma Shearer and others. His creations for the stage included extravagent designs for productions at such venues as New York's Radio City Music Hall, the Casino de Paris and the Paris Opera, as well as for the Folies-Bergères and George White...

Medium: Aquatint, Drypoint, Etching Year: 2016 Image Size: 7.9 x 7.9 inches Edition Size: 65 Beautiful impressionist image a japanese woman in traditional Kimono. Lawlor's early et...

"4 - U proof" - 1976 Surrealist Lithograph on Paper 1976 surrealist lithograph on paper titled "4 - U proof" by Jim Crabb (American, b. 1947). This piece resembles a narrow, surreal...

*HOLIDAY SEASON SUPER SALE UNTIL DECEMBER 31ST.* *This Price Won't Be Repeated Next Year - Take Advantage of It* Introducing the FRAMED and ready for the wall OREO HAPPY HOUR l...

Artist: Harold Altman (American, 1924-2003) Title: Three Chairs Year: 1978 Medium: Original color lithograph Edition: Numbered 61/185 in pencil Paper: ...

"Die Segen" (Sins/Blessing) - 1986 Lithograph On Paper Original 1986 lithograph on paper titled "Die Segen" ("Sins/Blessing") by Deborah Rumer. Red, green, purple, black and white m...

Abstract Screen print (Serigraph) composition of Japanese fishing boats in two parts by an unknown artist (20th Century). Signed (possibly "Myketo") a...

Satirical French Illustration of Man and Woman Comical illustration by Gaston Hoffmann (French, 1883-1967) titled "un bon tien vant amieux que deux tu l'auras" in French, "one real ...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

This artwork titled " The Dreamer" 1989 is a color offset lithograph on Artcote paper by Crow Indian artist Penni Anne Cross A.K.A. (Alawa-Sta-We- Ches) b...

A late 1960's modern Pop Art etching of horses by Marc Foster Grant (American, b.1947). The galloping horse motif is repeated, in the style of Warhol...

Signed, titled and numbered lithograph by Trevor Southey. Male nude portrait of a young man. this is the terra cotta version, there was also an edition done in grey. Trevor Southey ...

WILLY POGANY (1882 - 1955) TAMAS THE POWER OF BAD, c. 1940. Etching, signed and titled and numbered 50 in pencil. Image 12 x 9 inches. Sheet 14 7/8 x 10 3/4 inches. Generally goo...

Original chromolithograph by Louis Prang (German/American, 1823-1909) of L. Prang & Co. (American, founded 1860), after "Under the Apple Tree" by George E. Niles (American, 1837-1898). This late 19th century figurative chromolithograph depicts a small boy in a country setting and period dress under an apple tree, reaching into a barrel with a basket of apples spilling into the grass. A German style chromolithograph, this limited edition 188/250 print was created with heavy, oil-based inks which were applied in several layers to impart a texture similar to an original oil painting. Signed and dated in the plate "G.E. Niles 1867". Tag on verso with "Prang's American Chromos - Under the Apple Tree, after Niles - Chromolithographed and published by L. Prang & Co. ...Boston". Displayed in a rustic giltwood beveled frame. Image size: 9"H x 7.25"W. Louis Prang was a foremost lithographer and publisher in New York City from the mid to the end of the 19th Century. Born in Breslau, Germany to a father who was a calico printer, he was an apprentice to his father during his teen-age years and then spent five years as a journeyman, learning printing and dyeing and living in Austria, France and England. However, Prang's liberal political vliews caused him to be deported by the Prussian government during the Revolution of 1848, and fled via Bohemia and Switzerland to get to America. In 1850, Prang went to Boston, having stopped briefly in New York City, and became a publisher and taught himself wood engraving. In 1856, he turned to lithography in partnership with Julius Mayer. In 1860, he founded Louis Prang and Co., which was his own company and the first stiff competition to Currier and Ives. A primary reason for this competition was Prang's active imagination and energetic pursuit of his business. During the Civil War, he published maps and battle plans so that people at home could follow military movements. He also created printed card portraits of Union soldiers...

This artwork titled "Cafe Life" 1982 is a offset lithograph with a color crayon and oil pastel drawing on wove paper by American artist Michael Bowen, 1937-2009. It is hand signed and inscribed "Image" in color crayon. The image size is 27. 75 x 18 inches, the drawing is 9.25 x 7.25 inches, sheet size is 30.75 x 21.75 inches. It is in excellent condition, has never been fram...

"Personaje en un Cueva" (Personage in a Cave) Surrealist Lithograph by Rufino Tamayo (b. 1899 d. 1991.) Abstract figurative lithograph featuring a textured background and bold figur...

CARL HOECKNER (1883 – 1972) PHANTASY c 1935 Lithograph edition unknown, but rare. Slight glue stain upper margin. 10 ½” x 15 ¾” ...

Artist: Harold Altman (American, 1924-2003) Title: Sunday, Central Park Year: c. 1985 Medium: Color lithograph Edition: Numbered 56/285 in pencil Paper: Wove Image size: 17.5...

This framed hand-colored etching and aquatint entitled "A Great Man on The Turf or Sir Solomon in all his Glory" by James Gillray was published in London by Hanna Humphrey, 27 St. James Street on July 7th 1803. The print is signed in the plate in the lower right. It depicts a man, possibly a caricature of the racehorse breeder Sir Solomon. However, there has been some controversy about the identity of the central figure on the mound. Traditionally the man has been thought to represent John Russell, 6th Duke of Bedford...

Artist: Rembrandt Van Rijn (Dutch, 1606-1669) Title: The Golf Player Year : 1654 Medium: Etching Paper: Verge paper Image (plate mark) size: 3.75 x 5.85 inches Framed size. 22...

Abstract figurative lithograph with a lively jumble of abstracted animal and figurative forms by Michael William Eggleston (American, 20th Century). Titled (illegible), numbered ("5/...

"June A" - 1975 Surrealist Lithograph on Paper 1975 surrealist figurative lithograph on paper by Jim Crabb (American, b. 1947). Black spotted figures appear to be ascending upward, ...

MAXIMILLIAN KURZWEIL (Austrian 1867-1916) DER POLSTER / THE CUSHION, 1903. Color woodcut printed on laid japon paper, affixed as usual to a support sheet from its upper sheet edge...

"The Lightning Strikes Twice" by Prefab77 is a screen print and handfinished with spray paint. The artwork dimension is 76,5 x 57,5 cm (H x W) in an edition of AP 1/1 as a proof for ...

Figurative abstract wood cut print titled "Copula Amarilla" by Cecelia Sánchez Duarte. Pencil signed with edition number "3/10", title, and signature bottom margin. Image, 31.25"H x ...

Abstract Lithograph of The Louve with E.M. Pei Glass Pyramids Limited edition lithograph of an abstracted urban landscape, with fractured yellow and green color fields, by Bu King (...

"The Lightning Strikes Twice" by Prefab77 is a screen print on Oralite reflective film – a light-enhancing substance used by the emergency services. It is handfinished with spray pa...

Medium: Aquatint, Drypoint, Etching Year: 2017 Image Size: 11.4 x 8.6 inches Edition Size: 40 Video et taceo is a Latin phrase that was a political motto for Elizabeth I. It may re...

Gary John has been a street artist since 1985, originally from Seattle Washington, then moving to Venice Beach selling his art on the boardwalk for 10 years before exploding onto the world art market. Gary has now shown at art Basel, Miami, New York art fair, Los Angeles art fair and in Europe. American pop culture and comic books inspire Gary’s work equally. "Bob Big...

**ANNUAL SUPER SALE TIL SEPTEMBER 30TH ONLY** *This Price Won't Be Repeated Again This Year - Take Advantage Of It* Simply put, "OREO HAPPY HOUR...