362 results for "diego rivera"

Poster produced in 1963 for a tribute to Posada. Mexican Day of the Dead in Paris. A popular artist, Mexican engraver José Guadalupe Posada used to re...

Timothy Berry (b.1948). Savage Garden, 1996. Oil on canvas, 34 x 32 inches. Sigh on verso. Original gallery label affixed on verso. Canvas stretched over...

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

Frida at the Barbizon Plaza Hotel by Lucienne Bloch is a black and white portrait of Mexican painter Frida Kahlo sitting in a chair under her self portrait hanging on the wall. Im...

Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

"Exposicion de Alejandro Mojica" is a lithograph poster. It features an abstracted figure in bright colors--yellow, orange, pink, blue, and green. It advertises an exhibition in 1991...

JACKSON POLLOCK (American, 1912-1956) Untitled, CR1095 (after painting Number 22, CR344), 1951, printed 1964 Screenprint, on Strathmore wove paper, numbered 49/50 in pencil lower left, and with the Estate of Jackson Pollock 1964 blindstamp lower left From the posthumous printing of 50 authorized by his widow, Lee Krasner, in 1964 (there was also a lifetime edition of 25) Published by Bernard Steffen...

An exceptional, large, early work by American artist Dorothy Eisner (1906-1984). This painting was recently exhibited at Gracie Mansion in 2019 as part of “She Persists” - a show de...

"Couple II" Mid 20th Century Modern Abstract Figurative 1940s European Sculpture Jacques Lipchitz (1891-1973) "Couple II" Bronze signed on the base The sculpture was conceived in 19...

"Construction 1982" Abstract Wall Sculpture Contemporary Mid 20th Century Modern Painted wood assemblage, 36 x 45 x 4 inches overall. Note the label states 3 foot diameter referring to circular portion. Exhibited, Seymour Fogel Constructions Paintings and Drawing, 1984, typed on Graham Modern label verso Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

Le Papillon Pressé is an excellent colored etching realized in 1978 by the artist Renée Lubarow (b. 1923). Printed by Atelier Morsang, Paris. The work belongs to the series "Déja suivi de Alto", an illustrated edition consisting of 12 etchings. Limited edition of 165; one of he 110 specimens on vélin d'Arches. Mint conditions. Renée Lubarow's creative work was predominantly inspired by the 1930s. Globally this period can be best characterised by the clash between the world’s dominant political philosophies - Marxist Socialism, Capitalist Democracy, and the Totalitarianism of both Communism and Fascism. In the Soviet Union, Stalin’s government needed urgent funds to implement the rapid industrialisation demanded by the first Five Year Plan. It initiated a secret proposal to sell off treasures from the State Hermitage Museum in Leningrad (St. Petersburg), including a preliminary list of two hundred and fifty unique paintings by the Old Masters, many of which found their way to the collection of Andrew Mellon via the New York based art dealing company, Knoedler. In the United States, the Great Depression had a great impact on artistic output, with many artists focusing on the agrarian and the humble man in the streets. It was the first time in US history...

"Untitled" is a dramatically placed individual who appears to be withdrawing into herself surrounded by a soft pinkish color. She has a sad look in her non-reflective eyes. This pain...

Federico Castellon, 'Body and Soul', 1938, lithograph, edition 30, Freundlich 3. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked, atmospheric impression on cr...

The painting is signed Sykes and dated 1960 lower right. It has "Maltby Sykes, 1911- for Leon" written on the stretcher verso It is a Surrealist Folk Art figure of an African woman oil painting...

Born in Mexico City in 1953, artist Noé Katz lives and works in the U.S., and his paintings and sculptures can be found around the world. He received his formal training at the Schoo...

Rufino Tamayo was born in Oaxaca, Mexico. He studied at the Academia de Bellas Artes in Mexico City and worked there until 1936 when he moved to New York, where he taught at the Dalt...

PLAYMATES is an original hand drawn limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor best known for her depictions of the African-American experience. PLAYMATES portrays a colorful portrait of two black children playing; a young girl and boy artistically expressed featuring fabric scraps used for the girl's cobalt blue dress and for the boy's blue and white pin striped shirt creating a collage effect in this eye-catching composition by Elizabeth Catlett. Attractive color palette comprised of bright lemon yellow, cobalt blue, turquoise, warm red, warm brown, golden ochre, and black. From the FOR MY PEOPLE suite of prints, a set of 6 lithographs illustrating the well known 1942 poem by Margaret Walker. "For my playmates in the clay and dust and sand of Alabama backyards playing baptizing and preaching and doctor and jail and soldier and school and mama and cooking and playhouse and concert and store and hair and Miss Choomby and company;" stanza from the poem FOR MY PEOPLE by Margaret Walker...

Emil Bisttram Taos Women Signed lower right Pencil on paper 11 1/2 x 9 1/2 inches Provenance David Cook Fine Art, Denver, Colorado Clare Walker Fine Art, Tarrytown, New York Bistt...

"Planting (Spring Plowing)", a vibrant watercolor and graphite on paper by Thomas Hart Benton, circa 1939-40, embodies the artist's signature Regionalist style. The work depicts a ru...

ELIZABETH CATLETT Candace - 10th Anniversary Celebration 1992, A Tribute to African American Women National Coalition of 100 Black Women, Commemorative Fine Art Poster Year printed...

THE DOOR OF JUSTICE is an original, hand drawn, limited edition lithograph by the highly acclaimed African-American woman artist Elizabeth Catlett, master printmaker and sculptor bes...

This painting was bought from the artist's estate in Woodberry, CT and is signed verso. Eugene Savage studied at the Chicago Art Institute, the American Academy in Rome, and received his Masters of Art at Yale University. He taught at Yale for almost 30 years in Art and Architecture. Eugene Savage had many latin influences such as Diego Rivera and José Clemente Orozco. In the 1940s he spent his time painting Hawaiian murals of people and of more abstract Hawaiian...

Lucille Blanch Eighth Avenue and 56th Street, 1930 Signed and dated lower right Oil on canvas 31 3/4 x 24 inches Provenance The artist Edwin A. Ulrich Museum of Art, Wichita State U...

Ancient Landscape II (Ancient City) Etching and drypoint, 1953-55 Signed and titled in pencil by the artist (see photos) Annotated: "E130 A/1" in pencil lower right Estate stamp vers...

NEVELSON, LOUISE (1899-1988) "Dusk in August" Lithograph in colors, 1967 Signed, dated, titled, and numbered in pencil lower margin This impression is XVIII/XX Sheet Size: 17” x 22” Published by Hollander’s Workshop with their blindstamp This lithograph by Louise Nevelson was made in collaboration with eight other artists in 1967. The other artists included in this portfolio collaboration are Roy Lichtenstein, Louise Nevelson, Willem de Kooning, Robert Motherwell, Henry Pearson, Sam Francis, Richard Lindner, and Saul Steinberg. Louise Nevelson is one of American’s foremost artists, Nevelson’s sculpted wood assemblages transcended space and transformed the viewer’s perception of art. She was an American sculptor best known for her monochromatic wooden assemblages. During the 1950s, she began to create unique arrangements contained in wooden frames amassed from a range of found objects—usually woodcuts or bits of furniture—that were then painted a uniform black, white, or gold, as seen in her seminal work Royal Tide I (1960). Louise Nevelson emerged in the art world amidst the dominance of the Abstract Expressionist movement. In her most iconic works, she utilized wooden objects that she gathered from urban debris piles to create her monumental installations - a process clearly influenced by the precedent of Marcel Duchamp's found object sculptures and "readymades." Nevelson’s prints share with her sculpture an interest in silhouetted forms and the layering of elements, but distinguish themselves by their vivid color, depth and movement.. Louise Nevelson experimented in several different print mediums. A 1963 Ford Foundation grant enabled June Wayne of the Tamarind Lithography Workshop, Los Angeles, to extend an invitation to Nevelson. This initial collaboration led to twenty six lithographs, mostly black with dark blue or red, which combined hand-drawn elements with printed lace. Nevelson returned to Tamarind in 1967 to complete sixteen large scale lithographs know as Double Imagery. In these lithographs Nevelson played with landscapes of shadows and reflections using irregular shaped papers and a limited palette of black, red, grey and blue. For her brilliant compositions in varied mediums critics hailed her as the leading sculptor of the twentieth century. A pioneering grand dame of the art works, Nevelson’s iconic persona was characterized by her skilled mixing and matching of ethnic clothing...

An abstract expressionist painting by Duayne Hatchett . Oil on canvas, circa 1990. Signed verso. Framed. Image size, 60"H x 56"L. Duayne Hatchett was a visual artist whose work...

David Margolis (b.1911). Outdoor Market, ca. 1935. Charcoal on paper, image measures 7 x 9.5 inches. Framed measurement 13 x 15.5 inches. Signed lower right. David Margolis (Septem...

“Reclining Nude, c. 1930” by Louise Nevelson (1899-1988) This wonderful original ink drawing highlights Nevelson’s interest in the early 20th century avant-garde. Inspired by Picass...

A fantastic WPA-era painting of a Georgia moonshiner by famed Italian-American artist Athos Menaboni (1895-1990). This work depicts an older man sporting a brown hat, brown jacket, ...

Lithograph in colors on paper. Hand signed lower right by David Alfaro Siqueiros. Hand numbered 18/100 lower left. Sheet size: 26 x 20 inches. Frame size: 31 x 25 inches. Artwor...

Wonderful large abstract painting by Betty Weiss. Oil on canvas. Signed with her married name "Betty Perez". Measuring 40 by 48 inches. Artist Bio: Betty Weiss has been a Ne...

Leon Bibel, 'Clown', color serigraph, 1939, edition 20. Signed, dated, titled, and numbered '/20' in pencil. A fine, richly-inked, painterly impression, with fresh colors, on buff la...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing...

Leon Bibel, 'Untitled (Death March)', brush and ink, c. 1936. Estate stamped, verso. A fine expressionist rendering, on cream wove drawing board, with margins (3/8 to 5/16 inch). Minor toning at the board edges, otherwise in very good condition. Image size 12 5/16 x 9 3/8 inches; sheet size 13 x 10 inches. Matted to museum standards, unframed. One of a series of powerful Anti-fascist brush and ink drawings created by the artist at the commencement of the Spanish Civil War...

Duayne Hatchett ((1925-2015). Banner, 1958. Welded metal, sculpture measures 11 h. x 9 w. x 3.75 d. inches. Measuring a total of 17.5 inch high on base. Base measures 5.5 x 5.5 by 6 ...

Hazel Guggenheim King-Farlow McKinley (American, London, New Orleans, 1903-1995), "Paris Rooftops" c. 1930 Oil paint on wood panel Attributed, dated and titled verso (I am not sure in whose hand not signed by the artist herself). Dimensions H.- 18 in., W.- 15 in., Framed- H.- 26 1/2 in., W.- 23 in. Provenance: From an estate New Orleans, Louisiana. Hazel Guggenheim King-Farlow McKinley (born Barbara Hazel Guggenheim; April 30, 1903 – June 10, 1995) was an American painter, art collector, and art benefactor. Hazel Guggenheim was born in New York City to Benjamin Guggenheim and Fleurette (Seligman) Guggenheim. The marriage united two wealthy German-Jewish families. Born into the well-known Guggenheim family, a niece of Solomon Guggenheim who founded the Guggenheim Museum, she grew up in New York, alongside her sisters Benita Guggenheim and Marguerite Peggy Guggenheim who would become the influential gallery proprietor, art collector, museum founder, and midwife to the Abstract Expressionism art movement. Her father Benjamin gave up much of his financial interest in the family's mining business to start his own business in Paris. With his business failing, in 1912 he set out to return to the United States in time for McKinley's ninth birthday on the Titanic. Following the shipwreck, he drowned aged 46; his body was not recovered. McKinley inherited $450,000. She later inherited money on the deaths of her mother, and of her older sister, Benita, who died in childbirth. The loss of her father haunted McKinley for the rest of her life, and in 1969 she recorded "In Memoriam, Titanic Lifeboat Blues." McKinley began painting as a teenager and was a prolific artist throughout her life. When she fled New York for Paris at age 19 she studied at the Sorbonne and became part of 1920's bohemian Paris, France, where she was taught by key modernism artists of the time. Her primary mediums were ink, water color, tempera, and crayon. Some of her work is hand signed and some is not. In 1928 her sister Peggy moved to London and mar­ried the British writer John Holmes. In 1931, McKinley married the Englishman Denys King-Farlow. They settled in Sussex, UK, and had two children, John King-Farlow, who became a philosopher and poet, and Barbara Benita King-Farlow, who became an artist in her own right. In 1938 Peggy opened Guggenheim Jeune, a London gallery of mod­ern art, starring Wassily Kandinsky, Henry Moore, Salvador dali, Constantin Brancusi, Max Ernst, Pablo Pic­asso and Jean Miro with whom they socialized. Whilst living in the south of England with Denys King-Farlow in the 1930s, McKinley was influenced by a group of avant-garde artists, and had her first solo exhibition in London in April 1937 at the Coolings Gallery. She received instruction from British artists Rowland Suddaby, Raymond Coxon, and Edna Ginesi, becoming associated with the London Group and the Euston Road School. She painted primarily in watercolor. Her work included still-life, portraits, townscapes and landscapes. Although her first work was done in a "slightly plain palette," her later work in the 1930s brightened, sometimes falling within the realm of fauvism. "Under the influence of the Surrealist artists, Hazel's paintings after the 1930's became freer, though her work was far more whimsical and humorous than many artists more closely associated with the surrealism movement." In 1939 McKinley fled Europe due to the impending war and returned to the US, living mostly in California. She took brief art lessons from her sister Peggy's one-time husband Max Ernst and much later attended several summer schools taught by muralist and renowned teacher Xavier Gonzalez. In her life in the United States and abroad, McKinley met many prominent artists of the Paris, London, and New York art scenes including Jackson Pollock. McKinley continued to paint, and ran a small gallery of her own in the late 1950s and early 1960s in West Cornwall, Connecticut. One show at her gallery featured the works of British and Irish painters including Rowland Suddaby, Frank Beteson, Tom Nisbett, and Patrick Swift. McKinley showed two of her own works in the same exhibit, a watercolor painted at Positano, Italy and one painted at the Tuileries, Paris. Another featured work was a surrealistic water color portrait of McKinley by London artist Mervyn Peake. McKinley exhibited her work both in Europe and the United States throughout her long career, mostly at smaller venues. An incomplete listing of her exhibits and museum acquisitions of her work include: Berkshire Museum, the Galerie Raymond Duncan in Paris, Stendahl Galleries, the Jake Zeitlin Gallery, the Montgomery Museum of Fine Art, the Artists' Own Gallery in London, the Manchester City Art Gallery, and Santa Fe Art Museum. McKinley's work was only once included in a show by her sister Peggy. In 1943 McKinley was selected to exhibit a painting in Peggy's infamous show Exhibition by 31 Women in her New York gallery Art of This Century. The exhibition was radical at the time for being one of the first all-woman exhibitions, as well as showing only abstract or Surrealist works. The Exhibition by 31 Women was conceived by Peggy Guggenheim in collaboration with Marcel Duchamp, who is usually credited with suggesting the idea. The participating artists were selected by a jury that included André Breton, Max Ernst Duchamp, and Guggenheim. Advice was sought from Alfred H. Barr Jr., first director of the Museum of Modern Art in New York, who provided Guggenheim with five names, of which three were included in the exhibition, Suzy Frelinghuysen, Irene Rice Pereira, and Esphyr Slobodkina. Those already known to Guggenheim through their partners included Xenia Cage, wife of the composer John Cage, Frida Kahlo, wife of Diego Rivera, who was noted for his frescoes, Sophie Taeuber-Arp, wife of the sculptor, Hans Jean Arp, and Jacqueline Lamba, ex-wife of the surrealist André Breton. Guggenheim’s sister, Hazel Guggenheim McKinley and her daughter, Pegeen Vail Guggenheim exhibited. Also in the exhibition was the burlesque dancer, Gypsy Rose Lee, another friend of Guggenheim, who was possibly included more to help publicise the event than for her artistic skills. Other artists were friends of Guggenheim or of Max Ernst. One, Dorothea Tanning, was Ernst's lover, leading Guggenheim to say: "I realized that I should have only had thirty women in the show". Only one artist is known to have refused the invitation to submit works, Georgia O'Keeffe, who reportedly responded that she wished to be identified as a painter, and not singled out because of her gender. In the late 1950s, McKinley moved back to Europe for a while, before returning to the United States in 1969. She lived in New Orleans until her death in 1995. On her death, her only living son, John King-Farlow, wrote a poem in his mother's honor, entitled "Eulogy For My Mother (Hazel Guggenheim McKinley, Artist)." A short obituary distributed by the Associated Press noted she was a member of the illustrious New York Guggenheim family, that she was determined to make a name for herself as an artist, that her art works were shown in museums in the United States and Europe, and were in the collections of such celebrities as Greer Garson, Benny Goodman, and Jason Robards. In 1998 after her death, one of her paintings was exhibited in Peggy Guggenheim's Venice home museum the Palazzo Venier dei Leoni. Guggenheim’s work in various media and her connections to influential artists and collectors provide glimpses into the complex tapestry of the art world in the first half of the 20th century. In her later life she settled in New Orleans, where she continued painting, exhibiting, and studying art into her eighties at Newcomb College, New Orleans. She was part of a regional art scene that included Ida Kohlmeyer, George Rodrigue, Noel Rockmore and Hunt Slonem. Towards the end of her life while confined to bed, her last works were colored pen drawings and sketches. McKinley collected major contemporary artworks and she donated many of these works to public institutions. She donated over 15 works to Wakefield Art Gallery, UK, in the 1930s, and in 1938 presented the painting Cossacks...

Leon Bibel, 'Untitled (War Machine)', brush and ink, c. 1936. Estate stamped, verso. A fine expressionist rendering, on cream wove drawing board, with marg...

Federico Castellon, 'By the Arks', 1941, lithograph, edition 250, Freundlich 10D. Signed in pencil. Signed in the stone, lower left. A fine, atmospheric impression on cream, wove pap...

GERTRUDE by the African American woman artist Samella Lewis, is an original hand drawn lithograph printed using hand lithography techniqu...

Le Pigeon... is an excellent contemporary artwork realized by Renée Lubarow (b.1923) in 1978. Original colored etching on paper. Image Dimensions: 17 x 17...

This striking early drawing by Zalce captures a young man at a moment of heightened emotion, his mouth open and brow furrowed in what reads as shock and defiance. Executed in 1936, a...

SCARCE EARLY WORK. BEN SHAHN Levana and our Lady's Sorrows. lithograph printed in sepia on Papier Ancien, 1931. 13 1/8x9 7/8 inches (sheets), full margins, loose as issued. One of o...

Magnificent Jungle Cats Etching, drypoint and monoprint inking of the plate Printed by the artist at Atelier 17, New York Annotated 1/5 in pencil Estate stamp and number, verso Editi...

Hand signed and numbered. with Hebrew calligraphy "Zion" Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was...

Outstanding abstract watercolor on paper by Emil Bisttram signed lower right. Painting measures: 20 x 15 inches. Frame size: 27 3/4"h x 23 1/4"w. In excellent condition and beautifu...

WPA Mural Study American Scene Social Realism Mid 20th Century Modern Workers Seymour Fogel (1911-1984) Mural Study, untitled 11 x 49 1/4 inches (sight) Tempera on board Provenance:...

THERE IS A WOMAN IN EVERY COLOR is a hand pulled limited edition relief print created using linocut, woodcut, and silkscreen printmaking techniques on white archival printmaking pape...

NYC Watercolor Drawing American Modern 20th Century Modernism Mid-Century WPA. David Fredenthal (1914-1958) "View of New York from New Jersey,"7 x 10 inches. Watercolor on Paper, c. 1948. Signed lower right. David Fredenthal (1914 - 1958) was one ot America's most respected watercolor artists. He was famous for his bold, intensely vigorous and complex paintings and drawings that expressed his deep feeling for excitement with life and living. He was a draftsman with seemingly a special gift for catching anything, physically and emotionally on the spot, and he never went anywhere without three or four loaded pens and a sketchbook in his pocket. As part of the WPA project he executed a number of murals including the Sports Pavilion on the Heinz Building of the New York World's Fair 1939. Some of his fresco and mural techniques were inspired by his friendship with Diego Rivera who had admired and encouraged him in the early 1930's. After he won a traveling scholarship to Europe from The Museum of Modern Art at age 19, he was the recipient of two Guggenheim grants in Painting. He had his first solo exhibition at the Downtown Gallery in New York in 1937 at age 23, and many others after that including the Whitney Museum of American Art in 1947. Because of Fredenthal's prodigious drawing gifts, he was chosen by Erskine Caldwell to illustrate his novel "Tobacco Road...

Raul Anguiano. Untitled. Mexico. Signed and dated 1974, Technique: Lithography. Size: 26 x 32 inches. Anguiano is a renowned Mexican painter who was born in Guadalajara on February 26th, 1915, and died in Mexico City on January 13th, 2006. In his works you can see subjects related to rural and indigenous Mexico, festivals, traditions, religion and landscapes. In 1922 he collaborated with Diego Rivera and joined the group of Mexican muralists...

Elizabeth Catlett (1915-2012) BRONX COMMUNITY COLLEGE THE CITY UNIVERSITY OF NEW YORK Specially commissioned fine art poster designed in 1992 by Elizabeth Catlett, printed in 4-col...

"Beside the Dying" is an original signed lithograph by Ben Shahn. This print is from the series "For the Sake of a Single Verse" and depicts the head of a man in dark gray seemingly asleep or dead on a white background. It is signed lower right and is edition 27/200. 22" x 17" art 32 3/8" x 27 3/8" frame Ben Shahn (American, September 12, 1898 - March 14, 1969) was a painter, lithographer, and photographer best known for his left-wing political leanings, works of social realism, and The Shape of Content, a publication of his lectures. Shahn was born in Kovno, Lithuania, when the country was still occupied by the Russian Empire. In 1902, Shahn's father, Joshua Hessel, was exiled to Siberia. Shahn then moved to Vilkomir, Lithuania, with his mother, Gittel, and his two siblings. Their family moved to the United States in 1906 to join their father who had fled from exile. After settling in Brooklyn, NY, Shahn began to train in lithography and graphic design, and his favorite medium was egg tempera. In 1919, Shahn enrolled in New York University to study Biology before entering the City College in 1921 to study Art. He also studied Art at the National Academy of Design. In the 1920s, Shahn and his wife traveled around Africa and Europe to study the works of renowned artists such as Pablo Picasso (Spanish, 1881- 1973) and Raoul Dufy (French, 1877-1953). In 1933, Shahn worked as an assistant of Diego Rivera (Mexican, 1886 - 1957); at this time, Rivera was working on the mural at the Rockefeller Center in New York. Two years later, Shahn was recommended by Walker Evans (American, 1903 - 1975) to join the Farm Security Administration photographic group. One of the artist’s most famous works is the fresco mural he did for the Jersey Homesteads' community center. Shahn also worked on murals for the state on the Federal Security Building and the Bronx Central Annex Post Office. During the Second World War, Shahn made a series of paintings laced...

GLORY is a hand pulled, original limited edition relief print by the American and Mexican woman artist, printmaker and sculptor, Elizabeth Catlett. GLORY was created using linocut pr...

Louise Nevelson Female Nude, circa 1935 Pencil on paper 9 15/16 x 13 7/16 inches Provenance The artist Estate of the artist Bobbie Greenfield Gallery, Santa Monica, California Priva...

Man Sounding Horn (Psalm 150) Lithograph, 1969-1970 Estate signed: "Ben Shahn/by B.B. Shahn" in pencil lower center Stamped signature lower right (see photo) Signed by Mourlot Lith. in pencil lower right (see photo) Edition: 125 (67/125) see photo Psalm 150, "A Hallelujah Chorus" Published by Kennedy Graphics, Ltd., New York, NY Printed by Mourlot Graphics, Ltd., New York, NY Reference: Prescott 255 Kennedy Galleries, The Kennedy Graphics, 380, reproduced Condition: Very good Image/sheet size: 20 1/8 x 25 3/8 inches A posthumous print "This was the final project completed by Ben Shahn (1898-1969), leading American realist painter and muralist widely recognized for his socially conscious works. Born in Lithuania to Jewish parents, Shahn emigrated to the United States in 1906 and became a popular and versatile artist who worked in a variety of media and on a range of projects. His credits are as varied as assistant to muralist Diego Rivera, photographer for the Resettlement Administration (alongside the likes of Dorothea Lange and his friend, Walker Evans), maker of posters for the Office of War Information during WWII, and commercial artist for CBS. He is best known, however, for artwork depicting left-leaning political ideals and highlighting social concerns, such as his series of gouache paintings known as "The Passion of Sacco and Vanzetti...

This artwork titled "Carnavalesque" from the suite "The Mujeres File" 1969 is an original colors lithograph on BFK Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It i...

NICKOLAS MURAY (Hungary 1892 – 1965 New York) PORTRAIT OF DAVID BELASCO, 1922 Photograph. Signed and dated, 1922. Muray’s embossed stamp lower right. 7 5/8 x 9 ½ inches. Mount 11 ...

KEISHA M. is an original hand drawn, limited edition lithograph by the renowned African-American woman sculptor, printmaker and painter Elizabeth Catlett (1915-2012), printed using h...

he Expectation is an Artwork  realized by  the Russian Artist  Angelina Beloff. Drawing on paper.  The artist wants to define a well-balanced composi...

"Bridge" Contemporary African American Urban Landscape 20th Century Alvin Ailey NYC ROMARE BEARDEN (American, 1914-1988) The Bridge, 1982 signed 'Romare Bearden' (upper left); with...