Florida - Figurative Prints

Pat Andrea (Netherlands, 1942) 'Unas voladoras más', 2005 Unique piece, intaglio monotype on paper 55.2 x 39.4 in. (140 x 100 cm.) Series: 3/75 ID: AND1533-...

Pat Andrea (Netherlands, 1942) 'Unas voladoras más', 2005 Unique piece, intaglio monotype on paper 55.2 x 39.4 in. (140 x 100 cm.) Series: 2/75 ID: AND1533-...

Pat Andrea (Netherlands, 1942) 'Unas voladoras más', 2005 Unique piece, intaglio monotype on paper 55.2 x 39.4 in. (140 x 100 cm.) Series: 1/75 ID: AND1533-...

Serigraph in colors on paper. Hand signed and numbered by the artist. Image size 26.25 x 26.5 inches. Frame size approx 41 x 41 inches. AP edition of 50. Artwork in excellent con...

ARTIST: Salvador Dali TITLE: Fleurs Surréaliste Vanishing Face MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine for DALART EDITION NUMBER: 316/350 MEASUREMEN...

ARTIST: Salvador Dali TITLE: Triumph of Love Le Triomphe MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine for DALART EDITION NUMBER: I XXV/C MEASUREMENTS: 22.8...

Pablo Ruiz Picasso (Spain, 1881-1973) 'Head (Non Vouloir)', 1942 Burin engraving on block reproduction on paper Vergé d'Arches 7.3 x 5.6 in. (18.3 x 14 cm.) Unframed ID: PIC2001-010 ...

Original Vintage Poster (offset-lithograph) Printed in France by Imprimerie Dermont in Paris 64 x 45 cm (c. 25.1 x 17.7 inch) This poster was created for the exhibition "David Hockne...

ARTIST: Salvador Dali TITLE: Much Ado About Shakespeare Measure for Measure MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: XIV/XCV MEASUREMENTS: 12" x 18.5" YEAR: 1968 ...

Carmen Garcés (Spain, ) 'Cg-5', 1980 lithograph on paper 22.1 x 30 in. (56 x 76 cm.) ID: GAR1333-001-000 Unframed Hand-signed by author

Koche 'Calabazas', 1996 engraving on paper 19.3 x 27.6 in. (49 x 70 cm.) Unframed ID: KOC1247-002-000 Unframed Hand-signed by author

Joan Ponç (Spain, 1927-1984) 'Madrid', 1976 lithograph on paper 22.1 x 30 in. (56 x 76 cm.) ID: PON1135-032-000 Hand-signed by author ________________________________________________...

"Max Papart (France, 1911-1994) 'Musical profile', N/A engraving on paper 22.1 x 30 in. (56 x 76 cm.) ID: PAP1387-001-000 Hand-signed by author in pencil"

Collotype in colors on paper. Unsigned. Published in 1972. Copyright info in typeset lower margin. Artwork is in excellent condition. All reasonable offers will be considered.

"Alejandro Pintado (Mexico, 1973) 'Recuerdo de una caminata', 2020 silkscreen on paper Guarro Biblos 250g. 17.1 x 15.9 in. (43.2 x 40.2 cm.) Edition of 50 ID: PIN-101"

Abstract color composition, 1959 aquatint lithograph "the Master and his Pupils". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana...

Eduardo Chillida Belzunce (Spain, 1964) 'My bedroom', 2016 etching on paper Guarro Super Alpha 250g. 17.8 x 15 in. (45 x 38 cm.) Edition of 34 ID: CHI-101 Unframed

Technical Information: Alex Katz Straw Hat 3 2022 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 75 1/2 x 42 in. Edition of 100 P...

Technical Information: Alex Katz Sunrise 1 2022 Archival pigment ink on Innova Etching Cotton Rag 315 gsm fine art paper 54 x 40 1/2 in. Edition of 100 Pencil signed and numbered

TECHNICAL INFORMATION: Shepard Fairey Burmese Monk 2009 Screenprint 24 x 18 in. Edition of 450 Pencil signed and numbered Condition: This work is in excel...

18 color silkscreen on coventry rag paper with deckled edges. Hand-signed by the artist duo; numbered and stamp-dated on reverse Edition of 225. Frame size approx 32 x 27 inches. ...

The Coca-Cola series by Aex Katz pays homage to the bold and daring women depicted in Coca-Cola's advertising images from the 1890's to the 1960's.

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler, Moshe Tamir and Michael Gross. Bergner, Yosl (Vladimir Jossif) (b Vienna, 13 Oct 1920). surrealist, surrealism. belongs to the generation of people uprooted from childhood landscapes and forced by circumstance to build a life elsewhere. Uniquely, he became an Israeli without shedding his Jewish cosmopolitan-refugee identity, an identity he zealously guarded in the melting pot of Israel of the "fifties" and "sixties". In the years that have passed since he acquired his art education at the Melbourne National Gallery Art School in Australia, concepts in the art world have changed many times over. from the Jewish paintings and the depictions of Australian Aborigines through the children of safed, the wall paintings, the masks, the angels and kings, the still lifes, the "Surrealistic" paintings, the toys and flowers, the paintings inspired by the Bird-head Haggada, the Kafka paintings, the Pioneers, the Kimberley fantasy (about his father's excursion in 1933 to northern Australia, in search of a "territory for the Jews"), Brighton Beach and the seascapes inspired by Eugene Boudin, through the chairs in the "Kings of Nissim Aloni" episode to the "Zionists" and the recent "Tahies". "During the six years that Bergner has lived in Israel," wrote Eugene KoIb, Direct. or of the Tel Aviv Museum, in the catalog of the Bergner exhibit in 1957, "he has established himself among Israeli artists." Bergner was indeed one of the artists who represented Israel in the Venice Biennial (1956; 1958) and in the Sao Paulo Biennial in 1957; this, in spite of the fact that Yosl Bergner did not harness his art to serve the Zionist ethos, that being, at the time, the order of the day (his paintings were in fact rejected at first as being those of a "Diaspora Jew"); he didn't "naturalize" himself by alliance to the country's landscape or its special light, nor did he turn to abstract painting. Painter of "the Jewish condition". the painter involved in Nissim Aloni's theater and the popular illustrator of poetry books and literary texts, he stuck to the narrative which drew its images from his childhood world, from Yiddish and from the Jewish culture of Poland in whose bosom he grew, with its literature, theater and fantasy. From this point of view his position as an "outsider", first in Australia and later in Israel, like that of the European Jew on the periphery of the dominant culture, afforded him a special dialectic vantage point from which to view his human and cultural surroundings. He was and remains a figurative painter even when he verges on the abstract. Israeli painter of Austrian birth, active in Australia. He grew up in Warsaw. His father, the pseudonymous Jewish writer Melech Ravitch, owned books on German Expressionism, which were an early influence. Conscious of rising anti-Semitism in Poland, Ravitch visited Australia in 1934 and later arranged for his family to settle there. Bergner arrived in Melbourne in 1937. Poor, and with little English, his struggle to paint went hand-in-hand with a struggle to survive. In 1939 he attended the National Gallery of Victoria’s art school and came into contact with a group of young artists including Victor O’Connor (b 1918) and Noel Counihan...

Portrait in black and white, woodblock print. Pencil signed by both Jacob Steinhardt 1887-1968 and Marian Anderson. Very rare thus. (Commissioned by ...

TECHNICAL INFORMATION: John Baldessari Hero 2017 Screenprint in colors on archival pigment print 30 x 22 in. Edition of 56/65 Pencil signed and numbered Condition: This work is in ...

TECHNICAL INFORMATION: Alex Katz Vivien in White Coat 2021 Silkscreen 54 x 39 in. Edition of 60 Pencil signed and numbered

This is not editioned. According to his wife this was done privately for his 80th birthday and just given to friends and family. they were not sold. This is from a group of very few that were hand signed by Hyman Bloom for his close friend the artist Martin Sumers. It depicts a 1955 charcoal drawing Rabbi with Torah. Provenance: Acquired from the Martin Sumers estate collection. Hyman Bloom (March 29, 1913 – August 26, 2009) was a Latvian-born American painter. His work was influenced by his Jewish heritage and Eastern religions as well as by artists including Altdorfer, Grünewald, Caravaggio, Rembrandt, Blake, Bresdin, James Ensor and Chaim Soutine. He first came to prominence when his work was included in the 1942 Museum of Modern Art exhibition "Americans 1942 -- 18 Artists from 9 States". MoMA purchased 2 paintings from the exhibition and Time magazine singled him out as a "striking discovery" in their exhibition review. His work was selected for both the 1948 and 1950 Venice Biennale exhibitions and his 1954 retrospective traveled from Boston's Institute of Contemporary Art to the Albright Gallery and the de Young Museum before closing out at The Whitney Museum of American Art in 1955. In a 1954 interview with Yale art professor Bernard Chaet, Willem de Kooning indicated that he and Jackson Pollock both considered Bloom to be “America’s first abstract expressionist”, a label that Bloom would disavow. Starting in the mid 1950s his work began to shift more towards works on paper and he exclusively focused on drawing throughout the 1960s, returning to painting in 1971. He continued both drawing and painting until his death in 2009 at the age of 9 Hyman Bloom (né Melamed) was born into an orthodox Jewish family in the tiny Jewish village of Brunavišķi in what is now Latvia, then part of the Russian Empire At a young age Bloom planned to become a rabbi, but his family could not find a suitable teacher. In the eighth grade he received a scholarship to a program for gifted high school students at the Museum of Fine Arts. He attended the Boston High School of Commerce, which was near the museum. He also took art classes at the West End Community Center, a settlement house. The classes were taught by Harold Zimmerman, a student at the School of the Museum of Fine Arts, who also taught the young Jack Levine at another settlement house in Roxbury. When Bloom was fifteen, he and Levine began studying with a well-known Harvard art professor, Denman Ross, who rented a studio for the purpose and paid the boys a weekly stipend to enable them to continue their studies rather than take jobs to support their families. He took Bloom and Levine on a field trip to the Museum of Modern Art in New York, where Bloom was impressed by the work of Rouault and Soutine and began experimenting with their expressive painting styles. In the 1930s Bloom worked sporadically for the Public Works of Art Project and the Federal Art Project (WPA), He shared a studio in the South End with Levine and another artist, Betty Chase. It was during this period that he developed a lifelong interest in Eastern philosophy and music, and in Theosophy. He first received national attention in 1942 when thirteen of his paintings were included in the Museum of Modern Art (MoMA) exhibition Americans 1942: 18 Artists from 9 States, curated by Dorothy Miller. MoMA purchased two of his paintings from that exhibition, and he was featured in Time magazine. The titles of his paintings in the exhibition reflect some of his recurring themes. Two were titled The Synagogue, another, Jew with the Torah; Bloom was actually criticized by one reviewer for including "stereotypical" Jewish images. He also had two paintings titled The Christmas Tree, and another titled The Chandelier, both subjects he returned to repeatedly. Another, Skeleton (c. 1936), was followed by a series of cadaver paintings in the forties, and The Fish (c. 1936) was one of many paintings and drawings of fish he created over the course of his career. Bloom was associated at first with the growing Abstract Expressionist movement. Willem de Kooning and Jackson Pollock, who first saw Bloom's work at the MoMA exhibition, considered Bloom "the first Abstract Expressionist artist in America." In 1950 he was chosen, along with the likes of de Kooning, Pollock, and Arshile Gorky, to represent the United States at the Venice Biennale. That same year Elaine de Kooning wrote about Bloom in ARTnews, noting that in paintings such as The Harpies, his work approached total abstraction: "the whole impact is carried in the boiling action of the pigment". In 1951 Thomas B. Hess reproduced Bloom's Archaeological Treasure in his first book, Abstract Painting: Background and American Phase, along with works by Picasso, Pollock, and others. Both de Kooning and Hess remarked on Bloom's expressive paint handling, a key characteristic of Abstract Expressionist painting. As abstract expressionism dominated the American art world, Bloom became disenchanted with it, calling it "emotional catharsis, with no intellectual basis." In addition, instead of moving to New York to pursue his career, he opted to stay in Boston. As a result he fell out of favor with critics and never achieved the kind of fame that Pollock and others did. He disliked self-promotion and never placed much value on critical acclaim. Many of Bloom's paintings feature rabbis, usually holding the Torah. According to Bloom, his intentions were more artistic than religious. He began questioning his Jewish faith early in life, and painted rabbis, he claimed, because that was what he knew. Over the course of his career he produced dozens of paintings of rabbis...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins...

The Coca-Cola Girls series by Alex Katz is an homage to the bold and daring girls depicted in Coca Cola’s advertising images from the 1890s to the 1960s that celebrate an idealized A...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins...

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 (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Spartito musicale. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins...

there is a companion piece on a silver paper. A depiction of a ballet dancer, superimposed upon canceled dance class checks. Joanne Seltzer was born in Philadelphia, Pennsylvania a...

Technical Information: Alex Katz Straw Hat Vivien 2021 Silkscreen 80 x 44 in. Edition of 60 Pencil signed and numbered

From very small edition of 15 on handmade mould made paper, with Jewish star Magen David watermark. From the deluxe boxed portfolio edition. János Kass (...

Aaron Fink (American, b. 1955) Red, white and denim blue patriotic electric guitar (an iconic image of American Rock and Roll) Signed and dated "Aaron Fink" lower right on Arches deckle edged paper. it is pencil signed, dated and numbered in pencil. (this is possibly a woodblock or woodcut print from the looks of it but I have seen it described as a lithograph so I am selling it thus.) Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. Aaron Fink has been involved in art since he was a child; his father, Alan Fink, co-runs Newbury Street’s Alpha Gallery and the paintings of Barbara Swan, Aaron Fink’s mother, have received considerable critical acclaim.His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers...

From very small edition of 15 on handmade mould made paper, with Jewish star Magen David watermark. From the deluxe boxed portfolio edition. Hand signed in pencil. János Kass (December 26, 1927 – March 29, 2010) was a Hungarian illustrator, printmaker, graphic designer, postage stamp designer, animated film director and teacher. Hungary's foremost graphic artist and book illustrator. Born in Szeged, he was the storyboard artist for the first fully digital animated film. This is done in a manner reminiscent of Saul Raskin, Tully Filmus and William Gropper, this is a modern take on a classic judaic subject matter, similar in style and tone to Abram Krol, Jakob Steinhardt, Josef Budko and Hermann Struck. Beginning his artistic studies at the Applied Art Academy, Kass finished in 1951 at the Academy of Fine Arts, a student of Gyula Hincz, György Kádár and György Konecsni. From 1956 to 1959 he held the Derkovits scholarship. From 1961 to 1962, he was assistant professor at the Book-Art Academy in Leipzig, Germany. Kass regularly took part in every major national exhibition at home and abroad. He had one-man shows in Italy (1963), Australia (1970) and Switzerland (1976). He participated in the Venice Biennial (1960), the Youth Biennial in Paris (1961), and Biennials in Lugano, Tokyo, Ljubljana, São Paulo and Buenos Aires, along with "Intergrafik" exhibitions in Berlin. He made many friends within the British graphic art fraternity while spending some months in London during 1980, working on one of the earliest, fully digitized computer-animated films, Dilemma, with John Halas. He had already won recognition with his illustrations and book designs. At the 1973 Leipzig book fair, his work was awarded the title of best illustrated book at the fair. This accolade was repeated at the Frankfurt fair in 1999. The 11-minute Dilemma was nominated at that year's Cannes Film Festival for the Golden Palm for Best Short Film, and is considered the first fully digital animated film. Kass was also a background artist for the "So Beautiful and So Dangerous" segment of Ivan Reitman Productions' 1981 animated feature film Heavy Metal. Kass' drawings, etchings and silk-screen prints were exhibited in the Fitzwilliam Museum in Cambridge in 1989 and in 1990 at London Olympia. He later held a one-man show in Edinburgh. He illustrated something like 400 books, classical novels and children's stories, among them an elegant edition of Imre Madách's 19th-century drama The Tragedy of Man, published in Iain MacLeod's translation by Edinburgh's Canongate press in 1993. He won Hungary's highest artistic award, the Kossuth prize, and was an elected member of the Széchenyi academy. János Kass’ s numerous works can be found in the Hungarian National Gallery. Since 1985, the János Kass Gallery...

Hand signed and numbered screen print in colors on paper. Edition of 300. Sheet size 33 x 39 inches. Image size approx 26 x 33 inches. Artwork is in excellent condition. Certifi...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: harlequin clown Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins...

TECHNICAL INFORMATION: Alex Katz Vivien with Hat 2021 Archival pigment ink on Innova Etching Cotton Rag fine art paper 36 x 48 in. Edition of 150 Pencil signed & numbered Accompani...

TECHNICAL INFORMATION: Alex Katz Sasha 1 2016 Archival pigment inks on Crane Museo Max paper 32 x 16 in. Edition of 90 Pencil signed & numbered Accompanied with COA by Gregg Shienb...

TECHNICAL INFORMATION: Andy Warhol Mick Jagger FS 11.140 1975 Screenprint on Arches Aquarelle Paper 43 1/2 x 29 in. Edition of 250 Pencil signed and numbered by Warhol. Signed in bl...

TECHNICAL INFORMATION: Andy Warhol Pete Rose Trial Proof 1985 Screenprint on Lenox Museum Board 39 3/8 x 31 1/2 in. Trial Proof Edition of 30 Pencil signed ...

Bright, vibrant purple, red and black bull or ox. 1959 Lithograph "Bull". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon K...

'Lo faro il litterato tutta la vita' Photo Lithography on rag paper hand signed lower right in pencil: Kounellis numbered 37/90. Provenance: The Collection of Ileana Sonnabend (Mrs Leo Castelli) & the Estate of Nina Castelli Sundell I have seen this piece identified as being 1969 and I have seen it as 1972. Jannis Kounellis (Greek: Γιάννης Κουνέλλης; 23 March 1936 – 16 February 2017) was a Greek Italian contemporary artist based in Rome. A key figure associated with Arte Povera, he studied at the Accademia di Belle Arti in Rome. Kounellis was born in Piraeus, Greece in 1936. He lived in Greece during the Second World War and Greek Civil War before he moved to Rome in 1956. From 1960 to 1966, Kounellis went through a period of only exhibiting paintings. In some of his first exhibitions, Kounellis began stenciling numbers, letters, and words onto his canvases, often reflecting advertisements and signs seen on the street. In 1960 he began to introduce found sculptural objects such as actual street signs into his work, exhibiting at Galleria La Tartaruga. This same year he donned one of his stencil paintings as a garment and created a performance in his studio to demonstrate himself literally becoming one with his painting. This newfound convergence of painting, sculpture, and performance was Kounellis' way out of traditional art. By 1961 he began to paint on newspaper to reflect his feelings towards modern society and politics. From 1963, Kounellis introduced found objects in his artworks, among them live animals but also fire, earth, burlap sacks, and gold. He replaced the canvas with bed frames, doorways, windows or simply the gallery itself. Kounellis' work from the 1980s, which also consisted of sculptures and performances using unusual materials, traveled all over Europe. In 1974, he performed with Edward Kienholz, Wolf Vostell and other artists in Berlin at the ADA – Aktionen der Avantgarde. His work has become integral to numerous renowned, international museums' collections. In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations. Kounellis participated in the exhibition 'Arte Povera – e IM Spazio' at the La Bertesca Gallery in Genoa curated by Celant, Arte povera means literally ‘poor art’ but the word poor here refers to the movement’s signature exploration of a wide range of materials beyond the traditional ones of oil paint on canvas, bronze, or carved marble. Materials used by the artists included soil, rags and twigs. Leading artists were Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Piero Gilardi, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio. They worked in many different ways. They worked in painting, sculpture and photography and made performances and installations, creating works of large physical presence as well as small-scale gestures. To solidify the movement, Celant curated yet another group show, 'Arte Povera', which was exhibited at the De' Foscherari gallery in Bologna in 1968 with similar artists. In the same year Kounellis exhibited 'Senza titolo (Untitled)', which consisted of raw wool, rope and a wooden structure all leaning against a wall. Finally, Kounellis was also included in 'RA3 Arte Povera + Azioni povere' which was organized by Marcello Rumma and curated by Celant. In 1967, Kounellis installed "live birds in cages along with rose-shaped, cloth cut-outs pinned to canvas" alongside his painting. Through this shift in his work, "Kounellis was more interested in anarchical freedom from linguistic norms and conventional materials. The space of the gallery and the exhibition site in general were transformed into a stage where real life and fiction could join in a suspension of disbelief." The viewers became part of the scene of these living natural sources of energy within the gallery space. He continued his involvement with live animals later in 1969, when he exhibited twelve living horses, as if they were cars, in the Galleria l'Attico's new location in an old garage in Via Beccaria. Gradually, Kounellis introduced new materials, such as propane torches, smoke, coal, meat, ground coffee, lead, and found wooden objects into his installations. He also looked beyond the gallery environment to historical (mostly industrial) sites. In 1997, Kounellis installed thirteen wardrobes and two doors that were sealed in lead along a scaffolding ledge that blocked the entry to a central hall. In 1968, in an interview by Marisa Volpi, Kounellis stated that incidental adjustments are certain as aspects that can indicate the human liberty of life. Selected Solo Exhibitions 1960: La Tartaruga gallery, Rome 1969: Attico Gallery, Rome 1981: Van Abbemuseum, Eindhoven 1982: Whitechapel Art Gallery, London 1988: Castle of Rivoli, Turin 1996: Museo Nacional Centro de Arte Reina Sofía, Madrid 2005: Albertina, Vienna 2007: Neue Nationalgalerie, Berlin 2007: Kounellis - Jaffa Port...

TECHNICAL INFORMATION Tom Wesselmann Rosemary Lying on One Elbow 1989 Laser-cut steel with alkyd oil 9 x 14 in. Edition of 45 Signed, titled, dated and numbered on verso Accompanie...

TECHNICAL INFORMATION KAWS You Should Know I Know 2015 Screenprint 37 1/2 x 32 in. Edition of 250 Pencil Signed and Numbered Accompanied with COA by Gregg Shienbaum Fine Art Condi...

Marc Chagall was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of ar...

Beautiful poignant lyrical piece. I am not sure if it is a lithograph or an etching with hand painted watercolor. it depicts a beautiful shtetl interior scene. Chaim Goldberg -- bo...

Large, untitled, 1996, color Iris print, this one is not signed in pencil, full margins, printed & published by Muse X, Los Angeles. Karlsen's “Muse X Editions” from 1996 are collages of Renaissance and Medieval art formed into spirals. Much of her artwork resembles this vacuum of collages that draws the viewer in for more. Botanical, Erotic, with catholic imagery print in the manner of David Lachapelle. ANNE MARIE KARLSEN received a B.F.A. from Michigan State University and an M.F.A. from the University of Wisconsin. Her work has been featured in exhibitions throughout the United States including the Museum of Fine Arts in Boston, the UCLA Armand Hammer Museum in Los Angeles, the Brooklyn Museum in New York, and the Carnegie Institute Museum of Art in Pittsburgh. Karlsen has completed numerous commissions for libraries, transit stations, cruise lines and municipal buildings. Her public art projects have been recognized as some of the most successful in the United States by the Americans for the Arts Year in Review. Much of the artwork that Karlsen displays in public places are mosaic and glass works. In Los Angeles alone, she has 21 public art pieces that get attention on a day-to-day basis, as they are in constantly commuted places, such as the Metro Orange Line at the Nordhoff station, Lawndale Public Library, Santa Monica Place Parking Garage, East Valley Health Center, and Pavilions Market of North Hollywood. Karlsen received the Westside Prize by the Westside Urban Forum for her work on the Santa Monica Boulevard Master Plan for the City of West Hollywood. She teaches at Santa Monica College. Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski...

Silkscreen on wove paper. Hand signed and numbered by the artist. AP edition. Sheet size 17.25 x 12.75 inches. Image size approx 15.15 x 10.75 inches. Artwork is in excellent condi...

From the "Paintings" Series. Lithograph and woodcut in colors. Published by Gemini G.E.L., Los Angeles. Hand signed, dated '84 and numbered in pencil lower right. 14 colors in 11 run...

Titled and numbered from the edition of 200 on the front in pencil, additionally dated and numbered on the reverse and signed by Julia Gruen, the executor of the Keith Haring Foundation and Anthony Shriver Best Buddies...

Signed, dated and numbered in pencil on verso by Keith Haring estate. Published by Tony Shafrazi, New York. Reference Littman, K, & Haring K. Keith Haring, Editions on Paper 1982-199...

Silkscreen on paper. Hand signed and numbered on front by the artist. Edition of 20. Frame size approx 33 x 26 inches. Artwork is in excellent condition. Certificate of authentic...

Hand signed & numbered by the artist. Edition of 300. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will be considered.

Hand signed and numbered in pencil. Edition of 200 on Arches. Artwork is in excellent condition. Certificate of Authenticity is included. Additional images are available upon request...

It depicts a lovely Jewish Chuppah .This is a hand painted with watercolor etching After Moritz Daniel Oppenheim (January 7, 1800 in Hanau, Germany – ...