Florida - Abstract Prints

Mimmo Paladino Atlantico Linocut, 1987, hand signed, dated and numbered 12/27 in pencil. Medium: Collagraph and linoleum cut Sheet measures 82 x 29 1/2" inches Parole Torchon pap...

La melodie acide. original lithograph painting. signed on the stone and numbered 1 to 1500

Sarah Amos(Contemporary Australian/American) Untitled Monotype, 1995 Monotype or painting on paper 12 x 9 inches on a 22.25 x 15 inches sheet size, Hand signed and dated lower right Provenance: Garner Tullis Workshop This appears as a abstract expressionist landscape or seacape. A lovely, moody, piece Sarah Amos, originally from Australia, lives in Vermont, and maintains an active International and National exhibition schedule. Sarah left Australia, after receiving a BFA in Printmaking from RMIT, to attend the Tamarind Institute of Lithography in New Mexico. In 1992 she became a certified Tamarind Master Printer in Lithography working with Joyce Kozloff and Barton Lidice Benes . In 1998 Sarah became the Master Printer for the Vermont Studio Center Press until 2008 and during this time she also received an MFA from the University of Northern Vermont. Sarah has been an Adjunct Professor at Dartmouth, Williams and Bennington Colleges teaching Printmaking and Drawing since 2007. She has led workshops on monoprint collagraph printing techniques with Joel Janowitz...

Limited edition (18 signed and numbered prints + two artist proofs) This image is from Marvin Berk’s “Flowing Geometry” series. Flawless original signed a...

"Voices VI (A)" Aquatint Etching • Image: 12”x 14” • Paper: 30”x 22” • 2001 Hand signed and numbered 1/2 on BFK Rives paper. Joe Novak (1930-2019) California Contemporary Minimalist. His work is about the exploration of color and light through abstraction, with tonal gradations that infuse them with a meditative quality. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. His artistic background and work link him closely with the first generation abstract expressionists of the New York School. Major influences include Jackson Pollock and Mark Rothko, and his mentors, Peter Busa and Esteban Vicente, whom he met and befriended during the eighties while living and painting in East Hampton. During the nineties, while living and working in Santa Fe, New Mexico, Novak initiated a project called "Light Emanations", in which he created digital computerized programs of changing light levels and configurations on a selection of his large paintings, dramatically illustrating the effect of light changes on color perception. Novak's body of work is extensive and include painting on canvas, panel and paper as well as monotypes, drawings, assemblages, mixed media and prints. He has often worked in series, focusing on a particular medium for years. Among these are "Meditations" (color pencil drawings), "Voices" and "Voices 2" (color aquatint etchings), "Echoes" (painting assemblage with minerals) and "Colors" (350 miniature panel paintings). In recent years his paintings have become more gestural, often with musical allusions. His work bears a relationship to the Light & Space Movement and Minimalism artists James Turrell, Larry Bell, Craig Kauffman, Billy Al Bengston, Peter Alexander, Laddie John Dill, Lita Albuquerque. these are also anticipative of the aquatint etching works by Anish Kapoor. Color Gradient, Abstract Art, Land Art. During the eighties and nineties, he painted large monochromatic color field canvases with tonal gradations and soft edges that infuse them with a meditative quality and a sense of movement. When illuminated they become glowing surfaces of color and light. Critic Christopher Knight wrote, Novak is an unabashed Color Field painter. His paintings and aquatints at Bert Green Fine Arts — the Santa Fe artist's third show there — feature works that will call to mind abstractions as diverse as those by Helen Frankenthaler, Mark Rothko and Morris Louis and the landscape abstractions of Joe Goode. Novak's work is in many public and private collections, including numerous museum collections. He spent his last years living in Palm Springs. Selected Group Exhibitions Bert Green Fine Art, Chicago, Illinois "Joe Novak/Huck Lewis-Bennett: A Collaboration", Stephen Archdeacon Gallery, Palm Springs Melissa Morgan Fine Art...

Mask Face Personage is an original limited edition lithograph by Dutch artist Karel Appel, printed using hand lithography techniques on 100% acid-free Arches archival paper. Edition ...

Woodcut, collagraph and photo-engraving in colors, on Rives Lightweight Cream paper, with full margins. Hand signed, dated and numbered lower front by Jim Dine. From the edition of...

Suite of 5 serigraph prints with binder. Each serigraph is hand signed and numbered by the artist. Sheet size 26 x 6.5 inches (each). Image size approx 19.25 x 13.5 inches. Edition ...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Technical Information: Julian Stanczak Dimensional, from Twelve Progressions 1971 Screenprint 31 3/4 x 26 in. Edition of 90 Pencil signed and numbered Accompanied with COA by Gregg...

Sensations engraving surrealist limited edition painting Paper handmade of 600 grs. Edition of 100 copies Numbered in pencil and signed Born in Vic, Cataluña, in 1947, he resides in Mexico since 1998. Heir of the Spanish school by tradition and through his personal relation with the three Spanish giants of the 20th Century: Picasso, Dalí and Miró. He has over 50 individual exhibitions presented in Mexico, El Salvador, Puerto Rico, Spain, Sweden, France, and the U.S.A., such as “The color of the music of Rodolfo Halffter”, Pecanins Gallery (Mexico City, 2005); “Opus in color”, Museum of Anthropology (Jalapa, Ver., Mexico, 2004); Museum of Art of Queretaro (Queretaro, Mexico, 2001); Spanish Institute of Culture in El Salvador (San Salvador, El Salvador, 2000); “From flesh to passion”, Siqueiros Cultural Polyforum (Mexico City, 1999). He arrived in Mexico in 1997 with an invitation to present the exhibition “Germ of Illusions”, Pemex (Mexico City). Before his experience in Mexico, he realized the Olympic Suite “Homage to the Olympic Subvenues Barcelona 92”, a permanent exhibition in the Olympic Museums of Barcelona and Lausanne, in 1992. He showed in 1996 with the Sotelo Blanco Foundation. Anthropology Museum of Santiago de Compostela, the Nakita Gallery (Stockholm, Sweden), Corrine Timsit International Galleries Inc. (San Juan de Puerto Rico and Paris, France). In 1990 he showed in the Museum of Hispanic Art (San Francisco, USA) and in the Museum and Gallery Elbine Dalvanes (Paris, France). His exhibition “The Force of an Encounter”, Museum of Abstract Art Manuel Felguérez, March-June (Zacatecas, Zac., 2008) was a very interesting revision of his work in the past ten years, considering his analysis of musical language exclusively. This gave way to an evolution of his pictorial language. He has participated in several collective exhibitions with artists such as: Argimon, Clave, Guinovart, Barceló, Saura and Tapies; Appel, Farreras and Joan Genovés; Cuixart, Subirachs and Tartas; Bartolotzi and Carbó Berthold; Rafols Casamada, Saura and Pelayo; Elvira Gascón and Nunik Sauret; Rogelio Cuellar, Gilda Castillo, Francisco Castro Leñero, Arnaldo Coen, Rafael Coronel, Irma Grizá, Sergio Hernández, Magali Lara, Irma Palacios...

Jesus Soto (1923-2005) Serie Madrid B, 1990 Denise Rene Editeur, Paris (with Denise Rene's blind-stamp) Screen print in heavy paper 59 x 45.3 in (150 x 115 cm) Professionally framed...

Lithograph and silkscreen in colors on paper. From Peace Portfolio. Hand signed and numbered by the artist. Artwork size 26 x 21 inches. Frame size approx 31 x 26 inches. Editio...

Fire Tower Water Tower (1974) Silkscreen Lithograph by Wolfgang Hutter Wolfgang Hutter (1928 – 2014) was a painter, draughtsman, printmaker and stage designer. Hutter's imagery is c...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 16" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is...

On BFK Rives French art paper. This is a Photograph silkscreen print of the Kotel, Western Wall in Jerusalem overlaid with Kadishman drawing. Menashe Kadishman was born in Tel-Aviv ...

Guinovart, Josep (Spanish/Catalan, 1927-2007), Untitled Abstract, 1984, lithograph on paper, hand signed, dated and marked E.A. (artist's proof) in pencil at bottom, full sheet 26.75 x 22 inches, unframed. Josep Guinovart (1927 –2007) was a Spanish Catalan painter most famous for his informalist or abstract expressionist work. In 1941, he began to work as a decorator. Three years later, he started his studies at the Escuela de Artes y Oficios de la Llotja (Art School of La Llotja) where he stayed until 1946. He first exhibited his work in 1948 in Galerías Syla in Barcelona. In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca'. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the cubist works of Henri Matisse and Pablo Picasso and travelled to Belgium, Holland and Germany. On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract art. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw. In 1962, he illustrated a book of poetry entitled Posies by Joan Salvat-Papasseit for the Ariel Editorial. He won many accolades for his work throughout the 1970s and 80s, including Spain's National Award for Plastic Arts in 1982. In 1994, a museum foundation dedicated to his art was inaugurated in Agramunt, his mother's birthplace to which he always felt a special attachment. In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture The Countryside Organ: a music instrument, 6 meters height, for the wind to sing the vines. This winery also displays the 10.5 meters work In Vino Veritas...

TECHNICAL INFORMATION: Victor Vasarely Pixis Screenprint 17 3/8 x 14 7/8 in. Edition of 50 annotated F.V. Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Ar...

Screen print in colors on paper. Hand signed and numbered by Ronnie Cutrone. From the edition of 150. Certificate of Authenticity included. Please do not hesitate to ask us any further questions. All reasonable offers will be considered. Please note our gallery has more than 1 of this artwork in stock and the exact edition number you may receive may be different than pictured. About the artist: Ronnie Cutrone (American, b.1948) is a Pop artist renowned for his vibrant, satirical paintings...

Victor Vasarely "Vonal", 1971 from Portfolio de 8 sérigraphies en couleurs. Ed. Griffon Serigraph 11 x 11 in with frame: 21 x 21 in The other pieces from this edition are available ...

David Welker Valley Grrl Anthropomorphized Anomalies Show Signed and numbered by the artist David Welker - "Valley Grrrl" print Title: "Valley Grrrl" Medium: screenprint Dimensions...

Hand signed, dated and numbered by the artist. Lithograph in colors on Special Arjomari with the Gemini G.E.L. blindstamps, Los Angeles. Sheet size 35 x 48 in. Image size 28.25 x 43....

La melodie acide. original lithograph painting. signed on the stone and numbered 1 to 1500 ej 384/1500

Jack Zajac, American, born 1929 1964 Etching and aquatint hand printed on Fabriano paper, pencil signed and editioned. Edition Roman Numeral III Image: 12 9/16 x 8 5/8 in. (31.9 x 2...

TECHNICAL INFORMATION: Victor Vasarely Koskota 1976 Silkscreen 24 1/2 x 24 1/2 in. 28/250 Pencil signed and numbered Condition: This work is in excellent condition. It has never be...

Maya Hayuk LCD 2018 Each print is signed, numbered, and hand-finished by Maya Hayuk With their symmetrical compositions, intricate patterns, and lush colors, Maya Hayuk’s paintings ...

Hand signed and numbered limited edition print. David Roth studied at the Illinois Institute of Technology's Institute of Design and was twice the recipient of the Moholy-Nagy Scholarship in visual design. It was Roth's initial work as a designer at fine art for commercial use that brought him interesting positions as art director for Lanvin, Charles at the Ritz, and Germain Monteil. . The strings are tied in bunches and closely hung tram a wooden bar. The size and shape of the string is similar to that at a canvas painting. Each bundle is represented by a vertical row at squares on the graph and the groupings at string are lined up along the wall according to the horizontal rows at the program. The six primary and secondary colors are used in their full intensity along with black, grey, and white. As a painter Roth works to formulate with color. Some painters regard color as a concomitant of form, hence a subordinate, but Roth's color is the chief medium of his pictorial language. A programmed juxtaposition at primary color allows Roth and the viewer to play upon various combinations. The graphs Roth executes are proportioned according to a strict mathematical formula - the pictures are Composed according to horizontal and vertical divisions on the graph paper. The optical quality of color, deliberately sought, has its roots in the Bauhaus investigations of illusion, and thus has a direct relationship to the Op art produced in postwar Europe. Roth has arranged his hues so as to persuade the planes to separate from the ground on which they are planted, and float free in space. It is almost as if Roth is giving us a "readout" on his creative process. Although the graphs appear to vary in their use of color the same colors are used throughout, also the same amount of color. Roth's work illustrates the sophistication of the human eye-brain relationship that has developed and invites the viewer to participate in the evolution at visionary ideas. One Man Shows 1966 The Gallery Upstairs, Buffalo, New York 1967 The Gallery Upstairs, Buffalo, New York 1969 The House of Graphics, New York 1969 Illinois Institute of Technology, Chicago, Illinois 1972 Robert Elkon Gallery, New York 1973 Robert Elkon Gallery, New York 1974 Robert Elkon Gallery, New York 1975 Michael Wyman Gallery, Chicago 1975 Robert Elkon Gallery, New York 1976 G.W. Einstein, New York 1976 Robert Elkon Gallery, New York 1977 Robert Elkon Gallery, New York 1977 G.W. Einstein, New York 1978 Sunne Savage Gallery, Boston, Massachusetts 1978 Robert Elkon Gallery, New York 1979 Nancy Roth Gallery, Katonah, New York Group Exhibitions 1967 State University of New York, Buffalo 1970 Ronald Feldman Gallery 1970 The Everyman Gallery 1971 Robert Elkon Gallery, New York 1972 The Brooklyn Museum, New York 1972 The Newark Museum, New Jersey 1972 Art...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

It depicts a musical score or music notes. Offset Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend...

Katherine Porter is an American artist born in Cedar Rapids, Iowa in 1941. She received her BA from Colorado College in 1963. Katherine Porter received an honorary doctorate from Colby College. She has shown twice in the Whitney Biennial and solo exhibitions at the Knoedler Gallery in London, the Nina Nielsen Gallery in Boston, and the Andre Emmerich and Salander-O'Reilly Galleries in New York. Her work is in the collections of the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Museum of Fine Arts in Boston, and the Tel Aviv Museum in Jerusalem. Her exhibitions include biennials in 1976 and 1981 at the Whitney Museum of American Art in New York City; 1980 at the San Francisco Museum of Fine Arts; 1981, Dartmouth College...

Artist: Salvador Dali Title: Divine Comedy Purgatory Canto 18 Decomposition (3 pieces) Medium: Woodcut Measurements: 10.5" x 13" each piece Note: Piece is sold unframed Conditio...

TECHNICAL INFORMATION: Victor Vasarely Teke c. 1970 Screenprint 34 1/2 x 30 1/2 in. Edition of 250 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art. C...

Artist: Ellsworth Kelly (American, 1923-2015) Title: "Susan Sheehan Gallery (Ellsworth Kelly Posters 1951-2001)" *Signed by Kelly in pencil lowe...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

LIMITED EDITION PRINT - Edition of 75 signed by the artist. Price for unframed. Ask us for custom framing options for this piece. Craig Alan is a Pop Surrealist, internationally rec...

Beautiful 1994 monotype painting by American artist, David Chamberlain (b.1950). Oil on Arches paper, image measures 16.5 x 21.5 inches; sheet measures 22 x 30 inches. The subtle variations of the oil application are quite lovely. Titled and signed by the artist in pencil, lower margin and on reverse. Excellent, clean condition with no damage or restoration. Unframed: sheet is loose with no backing. SHIPS ROLLED IN TUBE David Chamberlain (American, b Canton, Ohio 1949) has been a full-time artist since 1977, and has created more than 2000 original works in both two and three dimensions. Over 100 of his works appear in the collections of recognized arts institutions and museums, worldwide. A serious and passionate musician (a cappella jazz singer with three recording albums and over 700 concerts in this avocation), Chamberlain's artistic approach and imagery is inspired by studies of musical patterns and relationships. Other influences include topology, poetry, design and flying. His sculptures are noted for their playful explorations of lyrical, melodic edges and harmonious spaces. The surfaces are all one continuous form; the insides become the outsides and vice-versa; the edges are all one line. Mediums include mahogany, bronze, titanium, gold, and ceramic/porcelain. His paintings reflect an enthusiasm for composition and improvisation. Chamberlain has developed a way to create original oil paintings using methods adapted from monotype processes incorporating a light table and mirrors, an etching press, and a variety of hands-on tools (including fingers, rollers, static electricity and blowing)... but no brushes. This method, sometimes called the Chamberlain Method, makes possible the intense collaborations he is known for, where he and another artist work on the same painting at the same time. Called Duett Painting, this mutual and simultaneous way for two artists to paint together attempts to involve the backgrounds of each, directly and profoundly. There are no rules, and there is no place to hide whoever the artists are appears in the composition. As each artist's marks influence the other's, the painting takes on a momentum of its own, compelling the artists toward a new direction neither would have pursued on their own. Chamberlain has worked with over 100 artists, musicians, dancers, poets and creative people from the USA, Asia, Europe, South America and Africa. About half of his paintings are collaborative duetts; half are conventional solo works using these techniques. His studio is based near Boulder, Colorado. He is married, with two children, a dog and three cats. EDUCATION MLA University of Colorado 2002 Landscape Architecture MFA University of Pennsylvania 1977 Sculpture & Printmaking BA Princeton University 1971 Architecture & Design SELECTED EXHIBITIONS Consulate of Japan, San Francisco, CA 1999, 1998 Major Shows Muse a Muse' Gallery, Tokyo, Japan 1997, 1999 Retrospective: "Solos, Duets & Concertos" Muskegon Mus. of Art, MI 1996 "Duets" Delaware Museum of Art, Wilmington, DE 1995 MacLaren/Markowitz Gallery, Boulder, CO 1991 Retrospective: McKissick Museum of Art, Columbia, SC 1990 Retrospective: The Art Complex Museum, Duxbury, MA 1988 Pucker Gallery, Boston, MA 1981, 1984, 1988 Gibson Gallery, SUNY at Potsdam, NY 1987 Arlene McDaniel Galleries, Simsbury, CT 1986 Lyme Academy of Fine Arts, Old Lyme, CT 1985, 1986 Gallerie Obussier, Nantucket, MA 1985 New Acquisitions Gallery, Syracuse, NY 1983 Everson Museum of Art, Syracuse, NY 1983 COMMISSIONS: Operhall Suite; [Series of 6 original works] Muskegon Museum of Art 1994 Symphony Suite; Gibbes Museum & Charleston Symphony Orchestra 1994 Gospel Suite in F; New England Conservatory of Music, Boston, MA 1994 Eroica; Morgridge Auditorium, University of Wisconsin, Madison, WI 1992 Balletté; Southworth Library, Canton College, Canton, NY 1991 A Une Passante; M. C. Wallace Library, Wheaton College, Norton, MA 1991 Festivale; K. B. K. Foundation, Boston, MA 1990 A Une Passante; SUNY Potsdam, Potsdam, NY 1989 Balletté; Ensign-Bickford Corp., Simsbury, CT 1987 Torus; Stratus Computer, Inc., Marlboro, MA 1986 Rondella; BNWC, Brandeis University, Waltham, MA 1985 Viole, Ayre; Asset Management, Inc., Essex, CT 1983 Cantata; Horne Library, Babson College, Wellesley, MA 1981 COLLECTIONS Museums Art Complex Museum, Duxbury, MA Ashmolean Museum, Oxford University, England Asian Art Museum, San Francisco, CA British Museum, London, England Columbia Museum of Art, Columbia, SC Currier Gallery & Museum, Manchester, NH Danforth Museum, Framingham, MA Davis Museum of Art, Wellesley, MA DeCordova Museum, Linclon, MA Delaware Museum of Art, Wilmington, DE Denver Art Museum, Denver, CO Detroit Institute of Arts, Detroit, MI Everson Museum of Art, Syracuse, NY Farnsworth Museum of Art, Rockland, ME Fine Arts Center at Cheekwood, Nashville,TN Fitzwilliam Museum, Cambridge University, England Gibbes Museum of Art, Charleston, SC Gibson Gallery & Museum, SUNY Potsdam, NY Greenville County Art Msueum, Greenville, SC Hara Museum of Contemporary Art, Tokyo, Japan Johnson Museum of Art, Ithaca, NY McKissick Museum of Art, Columbia, SC Minneapolis Institute of Art, Minneapolis, MN Munson-Williams-Proctor Institute of Art, Utica, NY Museum of Fine Arts, Boston, MA Museum of Fine Arts, Springfield, MA Muskegon Museum of Art, Muskegon, MI National Museum of American Art, Washington, DC Nelson Museum of Art, Kansas City, MO New Britain Museum of American Art, New Britain, CT Portland Museum of Art, Portland, ME Portland Art Museum, Portland, OR Princeton University Art Museum, Princeton, NJ Rose Art Museum, Waltham, MA San Diego Museum, San Diego, CA Smith College Museum of Art, Northampton, MA Taylor Museum/CSFAC, Colorado Springs, CO University of Michigan Museum of Art, Ann Arbor, MI Victoria & Albert Museum, London, England Wadsworth Athenaeum, Hartford, CT Williams College Museum of Art, Williamstown, MA Yale University Art Gallery, New Haven, CT Institutions American Embassy, Tokyo, Japan [selected] Arjo Wiggins/Arches S.A., Annonay, France Bank of America, Boston, MA Boso Yusi Company, Tokyo, Japan Boston Ballet, Boston, MA Canadian Foreign Ministry, Ottawa, Canada Chase Manhattan Bank, Vietnam Embassy of Japan, Abu Dhabi, United Arab Emirates FIA Institute, Tokyo, Japan Fidelity Ventures & Associates, Boston, MA Frederik Meijer Sculpture Gardens, Grand Rapids, MI Gauteng Legislature, Gauteng, South Africa German Embassy to Vietnam, Hanoi, Vietnam Helix Technology Corporation, Longmont, CO Ito-En Company, Tokyo, Japan JAFCO America Ventures, Boston, Palo Alto, Tokyo Japanese Consulates: Boston, MA; Atlanta, GA; San Francisco, CA Japanese Foreign Ministry, Tokyo, Japan Japan External Trade Organization, New York, Tokyo Kepner-Tregoe Company, Princeton, NJ Kobe Steel, Ltd Tokyo, Kobe Mochida Medicines, Inc., Tokyo Monsanto, European Division, Brussels, Belgium New England Conservatory of Music, Boston, MA Nueva Set-Kei, Inc. Tokyo, Japan Opinion Research Company, Princeton, NJ PAR Associates, Inc., Boston, MA Price, Waterhouse & Company, Greenwich, CT Princeton Club of Japan, Tokyo, Japan Saint Joseph's Heart Hospital, Lexington, KY Spencer, Fane & Browne; Shugert & Thomson, Kansas City, MO Temple Society of Concord, Syracuse, NY T. Rowe Price, Inc., Colorado Springs, CO University of Wisconsin School of Business, Madison, WI Vietnam Embassy to Canada, Ottawa, Canada Yankelovich, Skelly & White, Stamford, CT COLLABORATIONS Johannesburg, South Africa (& Artist Proof Studio) 1997 Duetts with: Kagiso Pat Mautloa, Durant Sihlali, Mmakgabo Sebidi, Dumisane Mabaso, Nhlanhla Xaba, Pepe Abela, Vincent Baloyi, Ntepe Osiah Masekwameng, Gordon Gabashane, Sokhaya Nkosi Vietnam (& Indochina Arts Project) 1995 Fine Arts Associations, Saigon, Hue and Hanoi; Ecole des Beaux Arts, Hanoi Duetts with: Do Minh Tam, Hoc Hai, Huy Oanh, Le Anh Van, Le Thong, Le Van Suu, Manh Tuan, Mai Khanh, Nghia Duyen, Thuc Ban, Tran Khan Chuong, Tran Luong Studio Duetts 1995-2001 With: Yuji Kishimoto (Architect -- Japan/USA), Emi Tajima (Japanese master caligrapher), Nguyen Quynh Nhu (Vietnam), Eduardo Chavez & Arturo Miranda (Mexico), Kyi May Kaung (Burmese Poet), Patrick Moraz (Swiss/American composer/performer), Jingalu (Aboriginal Australian artist), Rungsak Dokbua (Thailand), and Americans Don Grusin (Composer/performer), Dave Grusin (Composer/performer), Harry Skoler (Composer/performer), Sarah Schneider (Dancer/choreographer), Sally Ranney (artist/humanist), Cleo Parker Robinson (Dancer/choreographer) China (PRC) 2001-2004 Proposal for an Artistic Collaboration with China, 2001-2004 (38 pages). Involving ten Chinese Artists, streaming on the internet, development of 160 museum-quality Duett paintings for world-wide exhibition; budget 1.6 million USD. HIGHER EDUCATION Visiting Artist [Associate Professor One-year appointment] 1990/1991 Art Department, University of South Carolina Adjunct Professor 1991-1994 Art Department, Rivier College, Nashua, NH Fellow/Panelist The Aspen Institute Aspen, CO 2000 Conference on World Affairs [Univ of Colo, Boulder] 1990-1998 Visiting Artist Haverford School, Bryn Mawr, PA 1999 Clemson University, Clemson, SC 1997, 1998 African Institute of Art, FUNDA Soweto, South Africa 1997 Princeton University 1996 Williams College 1995 Bradford College 1994, 1998 College of Charleston 1994 University of Pennsylvania 1993 University of South Carolina 1990, 1994 SUNY Albany 1992, 1993 Pine Manor College 1987, 1989 Bentley College 1988 Simon's Rock/Bard College 1988 Brandeis University 1986 Lyme Academy of Fine Arts 1985, 1986 Emerson College 1985 Harvard University 1984, 1985 Mount Holyoke College 1984 Syracuse University 1983 Colorado College 1977 Director; Artist in Residence 1974-1977 Arts College House, University of Pennsylvania Taught Drawing (figure & still-life) and Photography Initiated Interdisciplinary Program: Dance, Music, Poetry, Theatre, Film, Architecture, Art SCHOOLS & PROGRAMS Instructor, Photography & Visual Arts 1974-1976 Adirondack Lakes Center for the Arts Chair, Performing Arts Department 1971-1974 Purnell School Instructor, Visual Arts Department 1970-1974 Purnell School [Taught (& developed syllabi for) 21 Studio arts courses] Juror, College Entrance Examination Board Area: Fine Arts 1972 AWARDS Selection Who's Who: in American Art; in the East; in the World Grants Krasner-Pollack Foundation Emergency Grant, 1999 Indochina Arts Project (Ford Foundation) 1994 Individual Artist Grant, South Carolina Arts Commission 1991 K. B. K. Foundation, 1991, 1994 High Meadow Foundation, 1990 Ford Venture Fund Grant [Univ. of Pennsylvania] 1975-1977 Haas Memorial Fund Fellowship, 1976 GRANTS IN KIND Kodak, Rochester, NY Papeteries Canson & Montgolfier, Annonay, France; Royal Talens BV Oil Paints, Apeldoorn, Holland Takach Etching Press Corp., Albuquerque, NM South African Airlines; American Airlines Korean Airline; Trans World Airlines PUBLICATIONS Film segmant Video Jukebox DeCordova Museum of Art, Linclon, MA 1999 Film David Chamberlain: Artistry in Motion {30 minutes} SC-ETV/PBS 1992 Book Melodic Forms: The Sculpture of David Chamberlain {75 pages, color} 1990 David Godine, Publisher Boston, MA Videotape Search for Perfection; {16 minutes} FIS/Pucker Safrai 1982 Award: Red Ribbon Category: The Arts American Film Festival, New York INTERVIEWS All Things Considered, National Public Radio Weekend Edition, Monitor Radio & Public Radio International CNN Headline News, Atlanta, GA International News Scene, Reuters Press International, New York/Hong Kong Terra Infirma, Corp. for Public Broadcasting BBC World, London Art Scene, S. Carolina Public Radio Jazz Times, Blue Lakes Public Radio, Grand Rapids, MI Conversations with Jean Feraca, Wisc. Public Radio, Madison, WI WBZ-TV Boston, MA WCNY-TV Syracuse, NY WNPE-TV Watertown, NY WSBK-TV Boston, MA WERS-Radio Boston, MA RELATED EXPERIENCE Designs Arts College House (Program) ; University of Pennsylvania, Philadelphia, PA 1975 Performing Arts Center (Architectural); Purnell School, Pottersville, NJ 1973 Fine Arts Center (Architectural); Purnell School, Pottersville, NJ 1971 Diplome Centre Audio Visuel Langues Modernes, Vichy, France 1973 School for International Training, Experiment in International Living, Putney, VT 1973 Graduate Credits Teaching Studio Art Institute, Colorado College, 1972 Consultant Sculpture Walk Project Univ. of South Carolina, Architectural Facilities Planning 1990/91 "How to create, fund and impliment a self-sufficient world-class sculpture collection" Speaker "[Man] In The Arena" , Haverford School, Haverford, PA 2000 "Architecture & Painting" Clemson University Dept of Art & Architecture, AIA Lecture 1997 Reflections on Creativity" Am. Inst. of Architects Convention, Highlands, NC 1994 "Neurons, Notes & Sketches", Conference on Art & Mathematics Albany, NY 1993 "Music into Sculpture", Conference on Art & Mathematics Albany, NY 1992 "On the Creative Process", Empire State Plaza Art Collection Albany, NY 1993 "Creativity and Fullfillment", Conference on Health & Spirituality Boston, MA 1991 Vocalist & Cahoots (jazz a cappella quartet) 1974-present Album Recordings: "Released" (1993) ; Arranger "Haven't We Met" (1991); All Good Children (octet) 1972-74 Album: "All Good Children" (1980); Canto Ergo Sum (sextet) 1971-72; The Footnotes (double sextet) 1967-1971 Album: "Another Summer...

TECHNICAL INFORMATION: Victor Vasarely Nebulus II c. 1980 Screenprint 32 1/2 x 30 3/4 in. Edition of 50 Pencil signed and numbered Accompanied with COA by Gregg Shienbaum Fine Art....

Anna Ticho (אנה טיכו ) (1894-1980) was a Jewish artist who became famous for her drawings of the Jerusalem hills. Anna Ticho was born in Brno, Moravia, then part of the Austro-Hungarian Empire (today the Czech Republic) in 1894. At the age of 15, she began to study drawing in Vienna in an art school under the directorship of Ernst Nowak...

"Artémis et Nature" is a striking piece by the internationally acclaimed Spanish artist duo PichiAvo, created during the 2019 MURAL Festival. Known for their masterful fusion of clas...

Artist: Le Corbusier (Charles-Édouard Jeanneret) (Swiss-French, 1887-1965) Title: "Unité, Planche 8" (Set of 2) Portfolio: Unité *Signed by Le Corbusier in pencil lower right. It is ...

Artist: James Coignard (French, 1925-2008) Title: "Les Voiles (The Sails)" *Signed by Coignard in pencil lower right Year: 1984 Medium: Original Hand-Embellis...

Artist: Kazuhide Yamazaki (Japanese-American, 1951-2023) Title: "Shirt" *Signed and dated by Yamazaki in pencil lower right Year: 1984 Medium: Original Monotype on unbranded wove pap...

Colorful, cartoonish faces and imagined creatures populate Kenny Scharf's fantastical murals, paintings, sculptures, and installations.

Artist: Lee Krasner (American, 1908-1984) Title: "Ashawagh Hall: The Springs Artists' Exhibition" Series: Ashawagh Hall Posters *Signed by Krasner in the...

Edward Avedisian (1936-2007) Cleo, Fur Queen, 1969 Lithograph in color on Arches wove paper. Hand signed, dated and numbered in pencil. Edition 100 Dimensions: 22.25 inches X 30.25...

HARTUNG - original abstract lithograph- Limited editionsigned painting Hans Hartung is commonly presented as a standard-bearer for the "Ecole de Paris" and the "lyrical abstraction"...

Ronnie Landfield (1947- American) 1969 Hand signed, numbered, and dated in pencil Serigraph on handmade paper. With the blindstamp of the Tanglewood Press. From the portfolio Various Artists that Included works by Alan Cote, David Diao, Ronnie Landfield, Lee Lozano, Brice Marden, William Pettet, Alan Shields, Kenneth Showell, Lawrence Stafford, and Peter Young. co-printed by Bank Street Atelier, Chiron Press, Fine Creations, Inc., Tom Gormley, Maurel Studios and S.D. Scott & Co., New York and published by Tanglewood Press, Inc., New York. Ronnie Landfield (American, 1947-) is an abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction (related to Postminimalism, Color Field painting, and Abstract expressionism), and he was represented by the David Whitney Gallery and the André Emmerich Gallery. Landfield is best known for his abstract landscape paintings, and has held more than seventy solo exhibitions and more than two hundred group exhibitions. Born and raised in Pelham Parkway in the Bronx, Landfield first exhibited his paintings in Manhattan in 1962. He continued his study of painting by visiting major museum and gallery exhibitions in New York during the early sixties and by taking painting and drawing classes at the Art Students League of New York and in Woodstock, New York. He graduated from the High School of Art and Design in June 1963. He briefly attending the Kansas City Art Institute before returning to New York in November 1963. At sixteen Landfield rented his first loft at 6 Bleecker Street near The Bowery (sublet with a friend from the figurative painter Leland Bell), during a period when his abstract expressionist oil paintings took on hard-edged and large painterly shapes. In February 1964, Landfield traveled to Los Angeles; and in March he began living in Berkeley where he began painting Hard-edge abstractions primarily painted with acrylic. He briefly attended the University of California, Berkeley and the San Francisco Art Institute before returning to New York in July 1965. From 1964 to 1966 he experimented with minimal art, sculpture, hard-edge geometric painting, found objects, and finally began a series of 15 - 9' x 6' mystical "border paintings". After a serious setback in February 1966 when his loft at 496 Broadway burned down, he returned to painting in April 1966 by sharing a loft with his friend Dan Christensen at 4 Great Jones Street. The Border Painting series was completed in July 1966, and soon after architect Philip Johnson acquired Tan Painting for the permanent collection of The Sheldon Memorial Art Gallery in Lincoln, Nebraska. In late 1966 through 1968 he began exhibiting his paintings and works on paper (painting, lithograph and silkscreen) in leading galleries and museums. Landfield moved into his loft at 94 Bowery in July 1967; there, he continued to experiment with rollers, staining, hard-edge borders, and painted unstretched canvases on the floor for the first time. Briefly in 1967-1968 he worked part-time for Dick Higgins and the Something Else Press. Landfield was part of a large circle of young artists who had come to Manhattan during the 1960s. Peter Young, Dan Christensen, Peter Reginato, Eva Hesse, Carlos Villa, William Pettet, David R. Prentice, Kenneth Showell, David Novros, Joan Jonas, Michael Steiner, Frosty Myers, Tex Wray, Larry Zox, Larry Poons, Robert Povlich, Neil Williams, Carl Gliko, Billy Hoffman, Lee Lozano, Pat Lipsky, John Griefen, Brice Marden, James Monte, John Chamberlain, Donald Judd, Frank Stella, Carl Andre, Dan Graham, Robert Smithson, Robert Rauschenberg, Andy Warhol, Kenneth Noland, Clement Greenberg, Bob Neuwirth, Joseph Kosuth, Mark di Suvero, Brigid Berlin, Lawrence Weiner, Rosemarie Castoro, Marjorie Strider, Dorothea Rockburne, Leo Valledor, Peter Forakis...

Large "Field Mouse II (1969) Lithograph Robert Natkin (1930-2010) was a New York artist known for his abstract expressionist paintings. Born in 1930 in Chicago, Robert Natkin grew up in an extended Russian-Jewish immigrant family. In 1948 he began studies at the Art School of the Art Institute of Chicago. He was strongly influenced by the Post-Impressionists and Abstract Expressionism, the latter through an article in Life magazine. In 1952 he lived, briefly, in New York where he came under the influence of Willem de Kooning. In 1953, Natkin returned to Chicago and began exhibiting, occasionally, in shows and exhibitions. He became closely associated with other Chicago artists, such as Stanley Sourelis, Ronald Slowinski, Richard Bogart and Judith Dolnick...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Naomi, [alternalte sp.], Noemi Smilansky Israeli, born Galicia, 1916–2016 Abstract Juduaica Etching, Edition 4/20, signed in Hebrew and English, l.r.

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Red and brown- original litograph painting. framed Argimon (Sarriá 1929 - Barcelona 1996) is one of the great Catalan informalist artists. This painter, engraver and sculptor touche...

Larry Brown Long-time established New York painter as well as faculty member the The Cooper Union, Brown works in oil on canvas and tempera paints on paper. He deals with themes of science and universality. EDUCATION: 1970 M.F.A. in Painting, University of Arizona 1967 BA in Painting, Washington State University SELECT GROUP EXHIBITIONS: Mixed Company: Women Choose Men, AIR Gallery, New York, NY Easy Breezy, Sears-Peyton Gallery, New York, NY From Stone and Plate: Contemporary Prints from Tamarind Institute, California State University Change of View Tamarind Institute Gallery, Albuquerque, NM Animal As Muse, The Norton Museum of Art, W. Palm Beach, FL Painting--Larry Brown, Joseph Haske, David Schoffman, Helander Gallery, New York, NY Paper Houses, David Beitzel Gallery, New York, NY Curators Choice, Albright-Knox Art Gallery, Buffalo, NY Current Trends in Abstraction-- Larry Brown, Bill Drew...

Serigraph, from ''Album of Ten Serigraphs'' (1954-55), by Fernand Leger (French 1881-1955), signed and dated in plate lower right, printed by Jean Bruller, distributed by Galerie Int...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

Screenprint on lenox museum board. Hand Signed, Numbered, And Dated in Pencil. Edition 297/300. Printed By Brand X Editions. Published by Donald J. Christal, Los Angeles, CA. Ver...

Actual image size is 10.5 x 13.5. Original serigraph silkscreen prints by German/Canadian expressionist Yargo de Lucca (1925-2008) from the “Canada Suite” series, a set of 32 hand-s...

This is a hand signed in pencil, vintage, limited edition lithograph modern art print, printed in Switzerland on Rives French art paper in 1968. in shades of pink, black, white. Similar to iconic works by Saul Steinberg. Jean Carzou (Armenian: Ժան Գառզու, 1 January 1907 – 12 August 2000) was a French–Armenian artist, painter, and illustrator, whose work illustrated the novels of Ernest Hemingway and Albert Camus. Carzou was born Karnik Zouloumian (Armenian: Գառնիկ Զուլումեան) in Aleppo, Syria to an Armenian family. Carzou later created his name from the first syllables of his name and surname, and added a Parisian nickname, "Jean". He was educated in Cairo, Egypt before moving to Paris in 1924 to study architecture. Carzou belonged to the art movement called "La Jeune Peinture" ("Young Picture") of the School of Paris, with painters like Bernard Buffet, Yves Brayer, Jansem, Jean Carzou, Louis Vuillermoz, Pierre-Henry, Daniel du Janerand, Gaston Sébire, Paul Collomb, Jean Monneret, Jean Joyet and Gaëtan de Rosnay. He started working as a theater set decorator but quickly realized he preferred drawing and painting. In 1938, more than a hundred exhibitions of his works were organized in Paris, in the French provinces and abroad. In 1949, he received the coveted Hallmark prize. Carzou, like his contemporaries Salvador Dali, and Pablo Picasso was part of a generation that witnessed many wars and was deeply affected by it. Carzou made his first lithograph in 1951 and was prolific in both the lithographic and etching medium. He had solo exhibitions throughout the world and was elected to the French Academy of Fine Arts in 1977. In 1952, he created costumes and sceneries for Les Indes Galantes of Rameau at the Opéra de Paris. He continued with Le Loup (1953) for "Les Ballets" of Roland Petit, Giselle (1954) and Athalie (1955) at the Opéra and "La Comédie française". Carzou mastered a number of mediums, though his line drawing and engraving would become well known as illustrations for some of the 20th century's most revered writers, including Hemingway, Albert Camus, Ionesco and Rimbaud. Carzou produced stunning work of painted glass and porcelain, in pencils, gauche and pastels as well as oil painting, often choosing to work on textured or irregular fabrics and papers rather than traditional canvas. Carzou was elected a member of the Institut de France, Académie des beaux-arts, succeeding in the seat left vacant by the death of painter Jean Bouchaud in 1977. He was also awarded the National Order of Merit of France. Among his closest friends were the painters Daniel du Janerand, Gabriel Deschamps, Louis Vuillermoz, Pierre-Henry, André Vignoles, Pierre Gaillardot, Rodolphe Caillaux...