Edward Penfield Art

Color lithograph, Edition 20. Don Ed Hardy’s lithographs, created in the spring of 2007, continue the “look” of his Ghost Writer painting series which has been developed over the past five years. They are evocative of ancient Chinese stone rubbings, or x-rays. Both prints refer to earlier images from Japanese art history. Floater, a meditating skeleton poised above surging waves, was done from memory after a 19th century Japanese painting...

Color lithograph, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing ships, as seen in traditional American tattoo design. Along with sails, they’re rigged out with trellis forms. Both themes have fascinated me since childhood. The house I grew up in was surrounded by trellises. Our small beachfront town was part of Newport Harbor in Southern California, where I saw many varieties of sailing craft. At ten, when I became transfixed by traditional American tattooing...

Color lithograph with collage, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing...

Original Vintage 1981 Cappiello Exhibition Poster held at the Paris Grand Palais. Celebrating the Iconic Artwork of Leonetto Cappiello. Linen backed in very good condition without an...

Color lithograph, Edition 30 Last Rays is an intensely colorful image that evokes the play of light and reflections caused by the late rays of the evening sun as they rake low acr...

Original Lithograph by Jean Cocteau Title: Blue Lady Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumb...

This is an original 19th century 1st edition octavo hand-colored McKenney and Hall lithograph of a Native American entitled " Shar-I-Tar-Ish, A Pawnee Chief", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart in Philadelphia in 1848. Shar-I-Tar-Ish's portrait has a reddish hue from the feathers in his headdress and amulet chain, with a brownish taupe color of the upper trim of his costume. He is wearing his presidential peace medal. He has a very serious and thoughtful expression. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are faint smudges in the margins. The print is otherwise in very good condition. The original descriptive text pages, 33-34, from McKenney and Hall's 19th century publication are included. A famous Pawnee chief, Shar-I-Tar-Ish led his people during the early part of the 19th century. He was descended from a line of chiefs. Shar-i-tar-ish was a young man when he went to Washington in 1822 at the invitation of President James Monroe...

Color lithograph, Ed. 30 Chagoya's newest prints, "Invites Into the World of the Eternal Instant" and "Expresses Nothing but the Self", are concerned with the current unsustainabl...

This artwork titled "Mascara Roja" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 21 x 27.25 inches, framed size is 37.25 x 42 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #124. Custom framed in a wooden gold leaf frame, with gold and red spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

This is an original 19th century hand-colored folio-sized lithographic portrait of a Native American entitled "Tah-Chee, A Cherokee Chief", from McKenney and Hall's 'History of the Indian Tribes of North America'. It was lithographed by J. T. Bowen after a painting by Charles Bird King and published by E. C. Biddle in Philadelphia in 1838. Tahchee's name translates to Dutch in Cherokee, and he became known as William Dutch. He was born in 1790 in the Cherokee Nation, which is now in a portion of Alabama. Tahchee became known as a skilled warrior and leader among his people, and he was eventually appointed as a chief of the Cherokee Nation "Old Settlers". During his time as chief, Tahchee was a rival of the Osage people and he worked to protect the Cherokee people and their land from encroachment by white settlers. He was a strong advocate for maintaining Cherokee sovereignty and cultural traditions, even as pressure mounted from the United States government to remove the Cherokee from their ancestral lands. In 1838, Tahchee and many other Cherokee people were forcibly removed from their homes in what is known as the Trail of Tears...

Color lithograph with pochoir, Edition25 Susan Hall lived and worked for many years in New York City before returning to her childhood home in Point Reyes Station, California. She depicts moments suspended in the mysterious light of this place of marshland, wave-broken coast line and tawny, rolling hills. In Susan's latest prints Solitary Oak and As the Moon Rises...

"Rat" lithograph from 1971 "No Gas" portfolio by Red Grooms. Hand-signed AP Red Grooms inside blue of Clorox bottle on front lower right. Image size: 22 x 27 1/2 inches. Depicts a N...