Antonio Frasconi ANTONIO FRASCONI, NEW YORK, CONNECTICUT / ENGRAVING SIGNED ,1962 ALHAMBRA IIAntonio Frasconi, New York, Connecticut / Uruguay (1919-2013), , 84cm (33”) 48cm (19? )W (leaf), 1962 Technique, woodcut in colors/ wood engraving Signed and dated below and titled ” Alhambra IIAntonio Frasconi(1919)Engraver and painter born in Buenos Aires on April 28, 1919. He is a legal Uruguayan citizen. He resides inUSAIn 1945 he traveled to the United States as a fellow at The Arts Students League of New York, where he settled.country. He studied printmaking with Gross and with the US-based Japanese painter Yasu’o Kuniyoshi. He gotscholarship from the New School for Social Research in New York with which he perfected his engraving technique inMadeira, from the Guggenheim Memorial Foundation and the National Institute of Arts and Letters and InteramericanFellowship. He is the author of illustrations for multiple books, magazine covers and albums. He published collections of hisof his own engravings of him. He illustrated a limited edition of “Aesop’s Fables” for the Museum of Modern Art in NewYork.He obtained the Acquisition Award IV Municipal Hall, Montevideo, 1943; Venice International Grand Prix with 100prints on poems by Walt Whitman, 1959; Acquisition Award XXI National Hall, 1967; PrizeAcquisition XXXIII National Hall, 1969. In 1999 he received the Figari Prize from the Central Bank.He exhibited individually at the Ateneo de Montevideo, 1939; AIAPE, 1944; Cleveland Museum, 1952; baltimoreMuseum, 1963; Brooklyn Museum, 1964; exhibited at the Fine Arts Commission of Montevideo, 1957; UndergroundMunicipality, 1961; Smithsonian Institution, 1953, 1963; General Electric Institute, 1967; National Gallery,Washington, Museum of Modern Art, New York, 1983; National Museum of Visual Arts, 1986; winter,Switzerland, 1993; Fredikstad, Norway, 1995. He represented Uruguay at the São Paulo Modern Art Biennial, 1957;at the XXXIV Venice Biennale, 1967, First Havana Biennale.Frasconi does not reproduce drawings. He does not reproduce objects either: he converts them into signs. He divides the figure intosigns and, at the same time, discovers them in the texture of the wood itself. Signs with strong characteremblematic. They are (almost) calligraphic; hence the writing. Maybe that’s why you’re attracted to bookplates.In Frasconi’s engravings, the texts are integrated into a homologous visual medium, just like the image.He is represented in the National Museum of Visual Arts, in the “Juan Manuel Blanes” Municipal Museum, Libraryof Congress, Washington, D.C.; Smithsonian Institution, Washington, D.C.: Philadelphia Museum of Art,Philadelphia; Museum of Modern Art in New York City and in dozens of museums and public collectionsinternational.

This is in good condition. m