Victor Moscoso Art

“Maternity, Nature & Peace” shows a mother cradling a young child along with Alvar’s allegorical representation of community, peace and nourishment. Warm colors compose the image wit...

Picasso Inspired Original Surrealist Art Exhibition Poster by Antoni Clave Original art exhibition poster by listed Spanish artist Antoni Clave from his Ginza Japan show. This int...

Considered the quintessential and definitive Bond film, the third instalment in EON Productions' James Bond series set the template for many of the subsequent films, with its tongue in cheek humour, extensive use of gadgets and technology and multiple foreign locations. The first Bond blockbuster, 1964s 'Goldfinger' was also the first Bond film to utilise a standalone pre-credits sequence, the first to employ a pop star to sing the theme song and the first to win an Academy Award. The plot saw 007 uncover a plot to contaminate the United States gold reserve at Fort Knox while investigating the smuggling activities of powerful gold magnate Auric Goldfinger. This stunning poster designed by prolific Swedish...

A vibrant vintage poster in blue, pink, brown, and classic 1960's avocado green, by Scottish Pop art progenitor Eduardo Paolozzi. Machinery extends upward in two arms like a space-age car engine...

Original exhibition poster printed on the occasion of Jim Dine's 1971 exhibition at Kunsthalle Bern, featuring Saw, 1971. Against a sea of electric blue, Dine has written “saw” in lo...

Original midcentury abstract art exhibition poster with wonderful vivid colors of blue, red, green, beige, etc... Very decorative, signed by t...

An uber cool Australian Daybill for the 1967 American prison drama 'Cool Hand Luke' starring Paul Newman in an Oscar nominated performance as the titular anti-hero, a free spirited prisoner who refuses to conform to the system, as indicated by the poster's tagline "The man... and the motion picture that simply do not conform." Acclaimed as one of the key movies of the 1960s, the film's anti-establishment ethos touched a nerve during a time of growing opposition to the Vietnam War. The Australian Daybill was printed using stone lithography based on US artist James Bama...

Detailed and dramatic hand-colored etching by Luigi Kasimir (Austrian, 1881-1962). St. Stephen's cathedral towers above the streets of Vienna, with people going about their daily bus...

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...

Printed in chartreuse, dark green, bright yellow, orange, and brown, this surreal scene features a grey-walled room populated with strange machinery and a red chair. Paolozzi creates...

An incredibly rare and charming British Double Crown poster for the 1967 Walt Disney animated classic 'The Jungle Book,' based on Rudyard Kipling's 1894 book of the same name, and th...

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...