Alexander Calder

Mid-Century Derrière le Miroir Lithograph by Alexander Calder

1966

The Faceless, Unforgettable Three - Modernist Color Lithograph (5/100) Three faceless figures, created by Simon Avissar (Israeli, 1938-2020), in a cool, muted color palette of purple and teal, layered against a speckled background with a sense of light surrounding them. Presented in a new taupe-colored mat. Mat size: 30"H x 24"W Paper size: 25.5"H x 19"W Avissar, Simon (Israeli, 1938-2020) is a Postwar & Contemporary painter born in Casablanca. As a tireless nomad, he exhibited for the first time in 1961, in Jaffa, where he lived and worked for some time. He then moved to Paris, settling into a studio in Montparnasse and began with an exhibition of his work at the Galerie Charpentier in 1964, and after exhibited at Abel Rambert, the Galerie de l’Elysée, and the Galerie Bénézit in the 14 years he lived there. He then moved to the United States, including Washington, New York, and Lose Angeles, while continuing to travel to South America, Australia, and South Africa, exhibiting in many places he visited. His work integrates the contributions of the avant-garde with cubist simplification, chromatic audacity, and abstract geometry. Education 1959-1960 School of Arts Appliques, Paris, France 1959-1961 L'Ecole des Beaux Arts, Paris, France 1962-1963 Bezalel Academy of Art & Design, Jerusalem Awards 1964 The French Ambassador’s Special Award Environmental Sculptures...

"Departure #7" - Lithograph on Paper Purple and tan lithograph depicting abstracted figures floating in space by Jim Crabb (American, b. 1947). Abstracted figures take up the page, ...

Figurative abstract with a colorful textured background and figure in black by an unknown artist (American, 20th Century). Hand pulled lithograph with hand work augmentation. Unsign...

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

'Figural Abstraction' is an original block print by American artist and teacher Sylvia Spicuzza. The image, printed in white ink against a grey paper, presents bold and graphic figur...

"Future III" is a Bauhaus-inspired monotype and collage (work on paper) reminiscent of the aesthetic of Le Corbusier. It is part of Bouton’s "Habitat and Urban Matter" series, which is inspired by the straight lines of modernist architecture and hard-edged geometrical forms of the urban environment. Bouton, a French printmaker from Paris who has also lived in London, Myanmar, Ivory Coast, Senegal, and Turkey, creates work that responds to her experiences during her travels and the cultures she encountered. Since settling in the Philadelphia area, she has been inspired by the urbanism of the city, whether a sleek, new apartment block, an abandoned warehouse, or a half-demolished home. Her latest works are interpretations of these buildings, with both broad street views and focused details from single structures –- the pattern of the skyline, a patchwork of broken windows, an industrial color palette. She is drawn to the history of the spaces and lives lived within these buildings, as well as their intrinsic beauty of the structures, whether that beauty emerges from design or degradation, or some combination of the two. Signed and dated. Bouton is a French artist living and working in the Philadelphia area whose boundary-pushing printmaking and paper works exhibit influence from living and working in international cities across the globe. Bouton earned her BFA in Painting and Printmaking and her MFA in Arts and Textile Design from the prestigious ESSAA Duperré in Paris, France. Since leaving Paris 15 years ago, Bouton has lived and exhibited her work internationally in Paris (France), London (UK), Philadelphia (USA), Rangoon (Burma/Myanmar), Abidjan (Ivory Coast), Dakar (Senegal) and Istanbul (Turkey). She has presented solo exhibitions at the Biennale de l’Art Africain...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Frenzy M1, Lino-cut chin- coll’e on German Ivory paper Edition: 3 of 5, 2005 Image size: 45 x 33 cm / Sheet size: 79 x 55 cm Unframed 'In this work in particular I feel that a true work of art is the creation of an experience from the interaction between the human self and the outside world' Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limite...