387 results for "frida kahlo"

Dazed dancers are seen twirling languidly on primal rock formations. The rocks, eroded by the sands of time, are shown as cutaways and serve as a platform or outdoor stage for the d...

FAILE - DIAMOND FAILEDOODLE (BLACK/TAN) Date of creation: 2022 Medium: Acrylic, spray paint, silkscreen ink and glitter on Archival Lenox 100 Edition number: 2/25 Size: 63.50 x 48.25...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

A soulful young man is captured in a deep, contemplative state, detached from current external concerns, as he gazes beyond the picture plane. He is realistically rendered, but the s...

Inspired by Edvard Munch's "The Scream", 1893 Edition 1 of 5 with 2APs “Ode to Munch’s ‘The Scream’” depicts a non-binary subject trapped in an infinite scream against a New Orleans backdrop. This piece represents the silent pain of gender dysphoria constantly experienced by non-binary people as they traverse a binary world that would rather ignore their existence entirely. The artists say of their work... "Everything Changes, the latest phase of our ongoing series In Empathy We Trust, presents odes to iconic images from the Modern and Contemporary art periods. Our artistic process during Everything Changes was heavily influenced by the COVID-19 pandemic and the inescapable upheaval brought about by this once-in-a-lifetime event. This major societal shift alongside ongoing social unrest compelled us to further explore the distorted realities permeating American culture and, consequently, veiling oppression of marginalized communities. With lockdown restrictions disrupting our usual process of gathering for photoshoots, we also began playing with new approaches for our work. As a result, our latest iteration marks a new technique exploration, with completely over-painting atop of select prints, adding an additional layer of distortion to an already-altered reality. The title for this show takes inspiration from one of our favorite Frida Kahlo quotes: “Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.” The pandemic fostered a collective understanding of just how malleable and fragile our reality is. Our perceptions, our personal routines, and our culture as a whole – these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art – and by extension, a culture – should look. The process of creating an e2 image has always involved intense collaboration, and the images here would not be possible without stellar teamwork. We would especially like to thank Cameron Wood for his extensive digital post-production and our wonderful models." ⎯⎯⎯⎯⎯ As the photographic duo E2, New Orleans natives Elizabeth Kleinveld and Epaul Julien seek to remake images from art history to reflect their own experience of the contemporary world. Tackling icons from the great masters like Botticelli, Manet, Rembrandt, and Van Eyck, they recast instantly familiar images in a distinctly modern manner, breaking them free from centuries of historical context and placing them firmly in the present. Kleinveld and Julien...

(after) Diego Rivera "Chapel of the Agricultural School, Chapingo" (Ceiling Detail, Workers) 1933 from the portfolio "Frescoes of Diego Rivera" Published by the Museum of Modern Art, NY Size with the Matt: 18.5 x 13.5 inches Hand-Signed by the Artist Diego Rivera was born on December 13, 1886 in the mountain town of Guanajuato in Mexico. His mother was an ardent Catholic and his father was a rich and aristocratic revolutionary fighter and an atheist. Little Diego decided in favor of atheism. He swore his family had to leave Guanajuato when he was six because of his diatribes against the Church. When he was eleven he attended the San Carlos Academy of Fine Arts; his real teacher was Jose Posada...

Batan Double Entry On The Plane Hand signed and dated verso John Sebastian Matta ("Batan") Twin Brother of Gordon Matta-Clark, Son of Surrealist Master Roberto Matta John Sebastian ...

André Planson - French Province Original Lithograph Handsigned Dimensions: 38 x 28 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Mario Segundo Perez Argentine, 1960–2018 Nachimiento Ink on Paper Dimensions: 7.5 X 9.75 with frame. sheet is 5 X 7 Does not appear to be signed on front (not examined out of frame. might be signed verso) Provenance: The Estate of Theodore A Bonin (Ted Bonin was a principal in Alexander and Bonin, a New York gallery known for its diverse slate of conceptual artists. He started at Marlborough gallery London in the 60s, then in partnership with Brooke Alexander. In its stable were a host of esteemed artists: Willie Cole, Rita McBride, John Ahearn, Paul Thek, Doris Salcedo, Eugenio Dittborn, Dalton Paula, and Rigoberto Torres, Mona Hatoum and Emily Jacir.) Mario Pérez was born in San Juan, Argentina in 1960. The second of seven children, and the son of a housepainter. He obtained his degree in Visual Arts at Universidad Nacional de San Juan in Argentina. A draughtsman and painter. His style was magic realist or fantastic realism In 2003, Pérez was the recipient of a Pollock Krasner Foundation grant, one of his greatest achievements. He also had the honor of being part of the National Exhibition “200 Years-200 Masters of Argentinean Art”, commemorating the country’s bicentennial. Mario has won international distinctions such as the Cecilia Grierson Award at the Salón Nacional de Pintura in La Plata in 1992; the Marco A. Roca Award at the Salón Pro-Arte, Córdoba, also in 1992; and the first prize in the LXXXVIII Salón Nacional de Pintura in Buenos Aires in 1999. His art often features tiny figures in immense landscapes, and unique backgrounds. It has elements of Conceptual art. His work has been regularly featured in leading auction houses like Christie’s and Sotheby’s in New York, and private and public collections. The magic realism of Mario Segundo Pérez is characteristic of a chiefly Latin-American concept in painting, literature and film that incorporates fantastic or mythical elements into an otherwise realistic scenario. Coined in the 1940s by Cuban novelist Alejo Carpentier, the term often is used when referring to the Colombian novelist Gabriel Garcia Márquez, winner of the 1982 Nobel Prize in Literature. Influences include Frida Kahlo and George Tooker. He was in shows with Ana Fabry and Eduardo Esquivel. Paintings by Pérez are included in numerous private and public collections, including the Ciudad Casa de Gobierno (the Buenos Aires City Hall); the University of Miami School of Architecture, and the College of Communication, Architecture + The Arts (CARTA) at Florida International University. He has been in shows with Juan Cardenas, Anna Mercedes Hoyos, Ignacio Iturria, Alejandro Obregon, Domingo Ravenet, Arnaldo Roche, Edgar Negret, Fidelio Ponce de Leon, Ricardo Martinez, Damian Gonzalez, Jorge Jimenez Deredia, Victor...

Leonor Fini - Pregnant - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

La litografia va firmada a mano por el artista en la parte inferior Es una prueba de artista P/A Año: 1976 Titulada "Piensas de las mujeres" Medidas de la litografía (solo imagen...

Edition 22/30 Carbon pigment print Paper size: 17 1/2 x 22 in., Image size: 11 x 15 3/4 in. Titled, dated, numbered, and signed by Nickolas Muray's Estate Nickolas Muray Photo Archives "Muray and Kahlo were at the height of their on-again, off-again, ten-year relationship when these pictures were taken. Their affair had started in 1931, after Muray was divorced from his second wife, and shortly after Kahlo’s marriage to Mexican muralist...

"Reflection " (FRAMED) Print 15" x 15" in by Antonio Pelayo x Isaac Pelayo Artist Antonio Pelayo, born in Glendale, California, and yet raised for most of his childhood in the Mexic...

Los Carpinteros (Cuban, 1992-present). Silver gelatin print photograph, large format. From the series "Tuneles Populares" (The People's Tunnels) 1999 Edition 1/5 Provenance: Bliss Fi...

"Untitled 28" (FRAMED) Pencil Drawing 21" x 18" inch by Antonio Pelayo Size unframed: 15.5" x 13.5 inch Medium: Pencil on Paper Artist Antonio Pelayo, born in Glendale, California...

Inspired by Gustav Klimt's "Portrait of Adele Bloch-Bauer I", 1907 “Ode to Klimt’s ‘Portrait of Adele Bloch Bauer I’’ bends gender expectations by casting a man as the woman in gold; artist Epaul Julien...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Leonor Fini - Surrealist Portraits Original Lithograph Handsigned Dimensions: 38 x 28 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985 Hand-Signed Conditions: excellent Edition: 71/100 Support: Arches paper. Dimensions: Pape...

"Demon" (FRAMED) Painting 33" x 27" inch by Antonio Pelayo Medium: "Acrylic Ink & Paint on Animation Acetate Artist Antonio Pelayo, born in Glendale, California, and yet raise...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintin...

"El Hombre" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20"...

Frida Painting " Two Fridas" (1892-1965) 1939, Gelatin Silver Print,

"50" (FRAMED) 50 Cent Portrait Pencil Drawing 17" x 15" inch by Antonio Pelayo Medium: Pencil on Paper Artist Antonio Pelayo, born in Glendale, California, and yet raised for most ...

"Igualdad" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" ...

"Ladrillo" (FRAMED) Painting 20.5" x 21" inch by Antonio Pelayo Medium: Pencil on Paper. Acrylic Ink & Paint on Animation Acetate Image size: 15"...

Hommage to the Entombment of Christ by Caravaggio – 05-12-20 Learning Material In my classes I often use ‘The Entombment of Christ’ by C...

Inspired by Edvard Munch's "The Scream", 1893 Edition 1 of 7 and 2APs “Ode to Munch’s ‘The Scream’” depicts a non-binary subject trapped in an infinite scream against a New Orleans backdrop. This piece represents the silent pain of gender dysphoria constantly experienced by non-binary people as they traverse a binary world that would rather ignore their existence entirely. The artists say of their work... "Everything Changes, the latest phase of our ongoing series In Empathy We Trust, presents odes to iconic images from the Modern and Contemporary art periods. Our artistic process during Everything Changes was heavily influenced by the COVID-19 pandemic and the inescapable upheaval brought about by this once-in-a-lifetime event. This major societal shift alongside ongoing social unrest compelled us to further explore the distorted realities permeating American culture and, consequently, veiling oppression of marginalized communities. With lockdown restrictions disrupting our usual process of gathering for photoshoots, we also began playing with new approaches for our work. As a result, our latest iteration marks a new technique exploration, with completely over-painting atop of select prints, adding an additional layer of distortion to an already-altered reality. The title for this show takes inspiration from one of our favorite Frida Kahlo quotes: “Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.” The pandemic fostered a collective understanding of just how malleable and fragile our reality is. Our perceptions, our personal routines, and our culture as a whole – these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art – and by extension, a culture – should look. The process of creating an e2 image has always involved intense collaboration, and the images here would not be possible without stellar teamwork. We would especially like to thank Cameron Wood for his extensive digital post-production and our wonderful models." ⎯⎯⎯⎯⎯ As the photographic duo E2, New Orleans natives Elizabeth Kleinveld and Epaul Julien...

Frida and Diego- image bled to plate size ~ 26” x 24” - printed on 100% cotton rag - Architectural elements

Myriam Bat-Yosef Surrealist abstract lithograph with embossing Hand signed and dated 1973. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli Icelandic French artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn...

Simka Simkhovitch (Russian/American 1893 - 1949) signed lithograph. Pencil signed and dated "S. Simkhovitch 1933" lower center. Title "Island Beach,"...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintin...

. Frida and Diego with Gas Mask Photograph (1892-1965 b.Szeged, Hungary), Gelatin Silver Print

Inspired by Vincent Van Gogh's "Self-Portrait with Bandaged Ear and Pipe", 1889 Edition 1 of 5 with 2 APs "Ode to Van Gogh’s 'Self-Portrait with Bandaged Ear and Pipe’” is a self-portrait of e2 artist E.Paul Julien as the tortured artist. This piece was inspired by Julien’s own struggles with mental health issues during isolation during pandemic lockdown, as he found himself in a place where he could relate to the fragile mindset that Van Gogh experienced through most of his life. The artists say of their work... "Everything Changes, the latest phase of our ongoing series In Empathy We Trust, presents odes to iconic images from the Modern and Contemporary art periods. Our artistic process during Everything Changes was heavily influenced by the COVID-19 pandemic and the inescapable upheaval brought about by this once-in-a-lifetime event. This major societal shift alongside ongoing social unrest compelled us to further explore the distorted realities permeating American culture and, consequently, veiling oppression of marginalized communities. With lockdown restrictions disrupting our usual process of gathering for photoshoots, we also began playing with new approaches for our work. As a result, our latest iteration marks a new technique exploration, with completely over-painting atop of select prints, adding an additional layer of distortion to an already-altered reality. The title for this show takes inspiration from one of our favorite Frida Kahlo quotes: “Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.” The pandemic fostered a collective understanding of just how malleable and fragile our reality is. Our perceptions, our personal routines, and our culture as a whole – these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art – and by extension, a culture – should look. The process of creating an e2 image has always involved intense collaboration, and the images here would not be possible without stellar teamwork. We would especially like to thank Cameron Wood for his extensive digital post-production and our wonderful models." ⎯⎯⎯⎯⎯ As the photographic duo E2, New Orleans natives Elizabeth Kleinveld and Epaul Julien seek to remake images from art history to reflect their own experience of the contemporary world. Tackling icons from the great masters like Botticelli, Manet, Rembrandt, and Van Eyck, they recast instantly familiar images in a distinctly modern manner, breaking them free from centuries of historical context and placing them firmly in the present. Kleinveld and Julien...

Myriam Bat-Yosef Surrealist abstract lithograph print in colorful abstract shapes and shades Hand signed and dated 1971. sheet measures 9.25 X 9.25 inches The envelope and the Peter Buch poster is just for provenance and is not included in this sale. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol...

Myriam Bat-Yosef Surrealist abstract oil painting in colorful abstract patterned rectangles and shades Hand signed and dated 1984. Miniature design letter also signed. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol...

Inspired by Edvard Munch's "The Scream", 1893 Edition 1 of 3 with 2APs “Ode to Munch’s ‘The Scream’” depicts a non-binary subject trapped in an infinite scream against a New Orleans backdrop. This piece represents the silent pain of gender dysphoria constantly experienced by non-binary people as they traverse a binary world that would rather ignore their existence entirely. The artists say of their work... "Everything Changes, the latest phase of our ongoing series In Empathy We Trust, presents odes to iconic images from the Modern and Contemporary art periods. Our artistic process during Everything Changes was heavily influenced by the COVID-19 pandemic and the inescapable upheaval brought about by this once-in-a-lifetime event. This major societal shift alongside ongoing social unrest compelled us to further explore the distorted realities permeating American culture and, consequently, veiling oppression of marginalized communities. With lockdown restrictions disrupting our usual process of gathering for photoshoots, we also began playing with new approaches for our work. As a result, our latest iteration marks a new technique exploration, with completely over-painting atop of select prints, adding an additional layer of distortion to an already-altered reality. The title for this show takes inspiration from one of our favorite Frida Kahlo quotes: “Nothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.” The pandemic fostered a collective understanding of just how malleable and fragile our reality is. Our perceptions, our personal routines, and our culture as a whole – these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art – and by extension, a culture – should look. The process of creating an e2 image has always involved intense collaboration, and the images here would not be possible without stellar teamwork. We would especially like to thank Cameron Wood for his extensive digital post-production and our wonderful models." ⎯⎯⎯⎯⎯ As the photographic duo E2, New Orleans natives Elizabeth Kleinveld and Epaul Julien...

13.75 x 24 inches - Edition 1 of 5 with 2 APs JONATHAN FERRARA GALLERY proudly presents The Changing Face of Portraiture, the premier solo exhibition of photography by artistic duo ...

20.5 x 36 inches - Edition 1 of 3 with 2 APs JONATHAN FERRARA GALLERY proudly presents The Changing Face of Portraiture, the premier solo exhibition of photography by artistic duo E...

Margaret Frances "Peggy" Bacon (May 2, 1895 – January 4, 1987) was an American printmaker, illustrator, painter and writer. Bacon was known for her humorous and ironic etchings and d...

"FRIDA" Portrait Oil Painting 48" x 36" inch by Isaac Pelayo Medium: oil and aeorosl on canvas ABOUT THE ARTIST: Isaac Pelayo is a head on crash collision between The Renaissance ...

9.25 x 16 inches - Edition 1 of 7 with 2 APs JONATHAN FERRARA GALLERY proudly presents The Changing Face of Portraiture, the premier solo exhibition of photography by artistic duo E...

"KITTY" (FRAMED) Painting 24" x 30" inch by Antonio Pelayo Medium: Marker on paper Size: 24" x 30" inch Size framed: 27.5" x 34" inch From Pelayo VS Pelayo exhibition: The exhibit...

"HOW DO YOU KNOW MY NAME?" (FRAMED) Painting 24" x 30" inch by Antonio Pelayo Medium: Marker on paper Size: 24" x 30" inch Size framed: 27.5" x 34" inch From Pelayo VS Pelayo exhi...

"I'M NOT TIRED" (FRAMED) Painting 30" x 24" inch by Antonio Pelayo Medium: Marker on paper Size: 30" x 24" inch Size framed: 34" x 27.5" inch From Pelayo VS Pelayo exhibition: The...

"YOU'RE SILLY" (FRAMED) Painting 30" x 24" inch by Antonio Pelayo Medium: Marker on paper Size: 30" x 24" inch Size framed: 34" x 27.5" inch From Pelayo VS Pelayo exhibition: The ...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Born in Paris in 1971, Rakel lives and works in Boulogne Billancourt, close to Paris. Rakel draws and paints since her early childhood. Passionate about fashion, drawing, traveling a...

"Contemplation" (FRAMED) Pencil Drawing 21" x 20.5" inch by Antonio Pelayo Medium: Pencil on Paper Artist Antonio Pelayo, born in Glendale, California, and yet raised for most of h...

"Dont Belong Here" (FRAMED) Painting 18" x 24" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 18" x 24" inch Size framed: 20" x ...

"Adela" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" inch...

"El Bańo" (FRAMED) Painting 20.5" x 21" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Artist Antonio Pelayo, born in Glendale, Calif...

"Calica" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" in...

"Super Artist" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x ...

"La Vaca" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" i...

"Conejo" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" in...

"El Fud" (FRAMED) Painting 14.5" x 20" inch by Antonio Pelayo Medium: Pencil on Paper, Acrylic Ink & Paint on Animation Acetate Size: 12" x 17" inch Size framed: 14.5" x 20" in...