Conrad Marca-Relli 1

CONRAD MARCA-RELLI Limited ed. Etching Aquatint American Modern, Contemporary

1977

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

Gaudi XX, (D. 1079), 1979 By. Joan Miro Signed Lower Right Edition 41/50 Lower Left Unframed: 37.5" x 30.75" Framed: 46.5" x 39" Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in...

Bold abstract aquatint by Johnny Friedlaender (Polish-French, 1912-1992). Comprised of two main sections, this piece is full of detail and texture. The upper layer is a reddish tan, whereas the bottom layer is a rich brown. Geometrical shapes are arranged such that they almost form mirror images of each other, but vary enough to create interest and a sense of movement. Signed in the lower right corner. Numbered 56/350 in the lower left corner. Includes original certificate of authenticity. Presented in a new cream mat with foamcore backing. Mat size: 42"H x 32"W Paper size: 33.75"H x 24.5"W Johnny Friedlaender was a leading 20th century artist, whose works have been exhibited in Germany, France, Netherlands, Italy, Japan and the United States. He has been influential upon other notable artists, who were students in his Paris gallery. His preferred medium of aquatint etching is a technically difficult artistic process, of which Friedlaender has been a pioneer. Johnny Gotthard Friedlaender was born in Pless (Silesia) and his early studies were in Breslau under Otto Mueller. In 1936 Friedlaender journeyed to Czechoslovakia, Switzerland, Austria, France and Belgium. At the Hague he held a successful exhibition of etchings and watercolours. He fled to Paris in 1937 as a political refugee of the Nazi regime with his young wife, who was an actress. In that year he held an exhibition of his etchings which included the works: L 'Equipe and Matieres et Formes. From 1939 to 1943 he was interned in a series of concentration camps, but survived against poor odds. After freedom in 1944 Friedlaender began a series of twelve etchings entitled Images du Malheur with Sagile as his publisher. In the same year he received a commission to illustrate four books by Freres Tharaud of the French Academy. In 1945 he performed work for several newspapers including Cavalcade and Carrefour. In the year 1947, he produced the work Reves Cosmiques, and in that same year he became a member of the Salon de Mai, which position he held until 1969. In the year 1948 he began a friendship with the painter Nicolas de Stael and held his first exhibition in Copenhagen at Galerie Birch. The following year he showed for the first time in Galerie La Hune in Paris. After living in Paris for 13 years, Friedlaender became a French citizen in 1950. Friedlaender expanded his geographic scope in 1951, and exhibited in Tokyo in a modern art show. In the same year he was a participant in the XI Trienale in Milan, Italy. By 1953 he had produced works for a one-man show at the Museum of Neuchâtel and exhibited at the Galerie Moers in Amsterdam, the II Camino Gallery in Rome, in São Paulo, Brazil and in Paris. He was a participant of the French Italian Art Conference in Turin, Italy that same year. Friedlaender accepted an international art award in 1957, becoming the recipient of the Biennial Kakamura Prize in Tokyo. In 1959 he received a teaching post awarded by UNESCO at the Museum of Modern Art in Rio de Janeiro. By 1968, Friedlaender was travelling to Puerto Rico, New York and Washington, D.C. to hold exhibitions. That year he also purchased a home in the Burgundy region of France. 1971 was another year of diverse international travel including shows in Bern, Milan, Paris, Krefeld and again New York. In the latter city he exhibited paintings at the Far Gallery, a venue becoming well known for its patronage of important twentieth century artists. From his atelier in Paris Friedlaender instructed younger artists who themselves went on to become noteworthy, among them Arthur Luiz Piza, Brigitte Coudrain, Rene Carcan...

Pink Series is an artwork realized by Lucio Fontana in 1966. Etching and Aquatint on BFK Rives. cm 75,5x56, one of the biggest graphic works ever created by Fontana, and a conceptu...

Antoni Tapies (Spain, 1923-2012) 'Oval i blanc', 1982 etching, aquatint, carborundum on paper Guarro Biblos 250g. 22.1 x 30 in. (56 x 76 cm.) Edition of 99 Unframed ID: TAP1162-018 H...

Eduardo Chillida (Spain, 1924-2002) 'Estampa VI', 1998 It belongs to the folder "La indetenible quietud" that includes 6 etchings by Eduardo Chillida and 32 poems by Clara Janés. aqu...

Eduardo Chillida (Spain, 1924-2002) 'Estampa VI', 1998 It belongs to the folder "La indetenible quietud" that includes 6 etchings by Eduardo Chillida and 32 poems by Clara Janés. aqu...

Eduardo Chillida (Spain, 1924-2002) 'Estampa V', 1998 It belongs to the folder "La indetenible quietud" that includes 6 etchings by Eduardo Chillida and 32 poems by Clara Janés. aqua...

Frank Stella’s Guifà e la Beretta Rossa, (Guifà and the Red Cap), 1989, is a captivating etching made of bold colors and large-scale geometric forms. This artwork was made in collaboration with well-known print maker Kenneth Tyler. In the upper left of the image, rainbow hues of violet, blue, green and yellow decorate the paper. These colors contrast beautifully against the bold, inky strokes which color the background. Additionally, columns, pillars and cones are layered on top of one another as if in a collage. The shapes vary from perfect circles to abstract forms. Viewed in combination, the imagery dances before the viewer, inviting the imagination to construct its own interpretations. This series of mechanical shapes and 3-D composition are reminiscent of Stella’s relief paintings from the early 1980s. For an artist like Stella, experimenting with color, form and dimension is key. He proves to viewers he cannot be confined to a specific artistic genre or movement. Therefore, Stella's abstract works retain a timelessness which will transcend expectations of abstract art. Above all, this large-scale work is an exceptional example of Stella’s later period and his iconic artistic style. The artist is a master of both painting and print. Oftentimes, Stella’s prints...

Artist: Joan Mitchell (American, 1925-1992) Title: "Fields I" Portfolio: Fields *Signed and numbered by Mitchell in pencil (on second sheet) lower right Year: 1992 Medium: Original E...