A few examples of appraisal values for
RUFINO TAMAYO

• Rufino Tamayo (Mexican,
  Rufino Tamayo (Mexican, 1899-1991) Figura de hombre en azul con fondo gris, 1979 lithograph signed and numbered 64/99 in pencil 21 1/2 x 30 inches.
• Rufino Tamayo (Mexican 20th
  Rufino Tamayo (Mexican 20th century) Profile on Stucco mixed media edition 80/100 signed R. Tamayo (lower right) 27 1/2 x 19 1/4 inches.
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Hombre", 1972, color lithograph on Arches paper, 36" x 24", signed in pencil lower center "R Tamayo", numbered in pencil "1/100", published by Transworld Art and printed in Bank Street Atelier, New York. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana; Purchased from the Greer Gallery, New York, in November, 1972. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925-1991; this print is catalogue number 131 and is illustrated on page 122.
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Hombre en Rosa", 1984, etching in colors on Guarro paper, 30" x 22", signed lower right "R Tamayo", numbered in pencil "16/99", from the series Rufino Tamayo 8 Aquafuertes 1984, published and printed at Ediciones Poligrafa, Barcelona. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925-1991; this print is catalogue number 316 and is illustrated on page 255.
• RUFINO TAMAYO, PENCIL, WATERCOLOR
  RUFINO TAMAYO, PENCIL, WATERCOLOR ON PAPER, 1972 Rufino Tamayo (Mexican, 1899-1991), Pre-Columbian Figure, graphite and watercolor on Arches watermarked paper, signed and dated "Tamayo - O-72" lower right, framed between glass, "#5 Pelletier" and "sur pelletier" in pencil on verso, 13.25"h x 10.25"w (sheet), 19.5"h x 17"w (frame)
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Figura", 1979, color etching, signed lower right "R. Tamayo", numbered lower left "55/99", published by Ediciones Poligrafa, sheet 29-3/4" x 22". Glazed, matted and handsomely framed.
• Rufino Tamayo (Mexican-American,
  Rufino Tamayo (Mexican-American, 1899-1991) "Pareja con Maguey", woodcut on paper, pencil signed "R. Tamayo", 7" x 6" image, framed 17-3/4" x 16-1/2", good condition, not examined out of frame
• Rufino Tamayo (Mexican-American,
  Rufino Tamayo (Mexican-American, 1899-1991) "Figura en Rojo" "Figure in Red', mixografia in color, pencil signed "R. Tamayo", edition 10/100, 47" x 31-1/4" sheet, framed 51-1/2" x 35-1/2", excellent condition
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Mujer con Sombrero", 1972, color lithograph on Arches paper, 36" x 26", signed in pencil lower center "R Tamayo", numbered in pencil "25/100", published by Transworld Art and printed in Bank Street Atelier, New York. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana; Purchased from the Greer Gallery, New York, in November, 1972. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925-1991; this print is catalogue number 132 and is illustrated on page 123.
• RUFINO TAMAYO, MALABARISTA COLOR
  RUFINO TAMAYO, MALABARISTA COLOR ETCHING FRAMED Rufino Tamayo (Mexican, 1899-1991). "Malabarista"-1980, color etching. Pencil signed lower right and numbered 59 of 99 lower left. Harcourts Gallery, San Francisco label verso. Provenance: From the Estate of Ms. Adrienne Anderson of Atlanta, Georgia. Approx. 40" x 32" (frame), 29.5" x 22" (sheet).
• Rufino Tamayo, (Mexican, 1899-1991)
  Rufino Tamayo, (Mexican, 1899-1991) Moon and Two Figures color lithograph signed and numbered 3/100 in pencil (lower edge) 21 x 16 1/2 inches.
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Dos Personajes", 1972, color lithograph on Arches paper, 25" x 36", signed lower right "R Tamayo", numbered lower left "25/100", published by Transworld Art and printed in Bank Street Atelier, New York. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana; Purchased from the Greer Gallery, New York, in November, 1972. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925-1991; this print is catalogue number 134 and is illustrated on page 125.
• WORK ON PAPER, AFTER RUFINO
  WORK ON PAPER, AFTER RUFINO TAMAYO After Rufino Tamayo (Mexican, 1899-1991), Abstract Figure, pastel and gouache on paper, bears signature lower right, overall (with frame): 27.5"h x 26.5"w. Provenance: Property of a prominent Hillsborough, CA estate.
• Sixteen books and booklets on
  Sixteen books and booklets on artist Rufino Tamayo.
• Rufino Tamayo VARIATION ON A MAN #2
  Rufino Tamayo VARIATION ON A MAN #2 Color lithograph Estimate:$1,500-$2,500
• RUFINO TAMAYO CABEZA IN RED MIXED
  RUFINO TAMAYO CABEZA IN RED MIXED MEDIARufino Tamayo (New York/Mexico, 1899 - 1991) unframed mixed media depicting a semi-abstract geometric figure of a man lined in black on a red background. Tamayo created a series of "Cabeza" pieces primarily throughout the 1960s and 1970s. This piece comes without paperwork of authentication, but signature and style are consistent with those of the artist's known works. In overall good condition. Measures approximately 20" in height by 16" in width and is signed "R Tamayo 0.81" to the upper right hand corner. Provenance: from the estate of a prominent Texas collector, known to not only to have collected quite an assortment of notable art, but to have befriended a vast majority of the artists of whose work was acquired. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City and enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art in 1917 where he was influenced by Cubism, Impressionism and Fauvism. He integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in 1926. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Tamayo and his wife Olga moved to Paris in 1949, and the French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969.,The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. Rufino Tamayo died in 1991 at the age of 92 in Mexico City.
• RUFINO TAMAYO CABEZA MIXED
  RUFINO TAMAYO CABEZA MIXED MEDIARufino Tamayo (New York/Mexico, 1899 - 1991) unframed mixed media depicting a semi-abstract geometric figure of a man lined in red on a black background. Tamayo created a series of "Cabeza" pieces primarily throughout the 1960s and 1970s. This piece comes without paperwork of authentication, but signature and style are consistent with those of the artist's known works. In overall good condition. Measures approximately 20" in height by 16" in width and is signed "R Tamayo 0.81" to the upper right hand corner. Provenance: from the estate of a prominent Texas collector, known to not only to have collected quite an assortment of notable art, but to have befriended a vast majority of the artists of whose work was acquired. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City and enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art in 1917 where he was influenced by Cubism, Impressionism and Fauvism. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. Rufino Tamayo died in 1991 at the age of 92 in Mexico City.
• PRINT, RUFINO TAMAYO Rufino
  PRINT, RUFINO TAMAYO Rufino Tamayo (Mexican, 1899-1991), "Hombre en Rojo," 1977, mixografia in colors, signed lower right, edition XIII/XXV aside from edition of 100, sheet: 49"h x 31"w, overall (with frame): 59.5"h x 41.5"w
• WORK ON PAPER, AFTER RUFINO
  WORK ON PAPER, AFTER RUFINO TAMAYO After Rufino Tamayo (Mexican, 1899-1991), Cubist Style Figure, pastel and gouache on paper, bears signature lower right, overall (with frame): 24"h x 19"w. Provenance: Property of a prominent Hillsborough, CA estate.
• Rufino Tamayo (Mexican 1899-1991)
  Rufino Tamayo (Mexican 1899-1991) "Sandias con Manzana". Color mixograph 1985 signed in the lower right corner of the image numbered 42/90 in the lower left corner of the image (Pereda 328) floated in a plexibox framing over all 39-1/2" x 47" 27" x 34-1/2" image. Private family collection Cleveland Ohio.
• PRINT, RUFINO TAMAYO Rufino
  PRINT, RUFINO TAMAYO Rufino Tamayo (Mexican, 1899-1991), "Hombre en Negro," 1960, lithograph in colors, pencil signed lower right, edition 25/75, image: 25.5"h x 19.5"w, overall (with frame): 36"h x 27"w
• RUFINO TAMAYO, COLOR FIGURAL
  RUFINO TAMAYO, COLOR FIGURAL ETCHING FRAMED Rufino Tamayo (Mexican, 1899-1991). "Nino Bailando" -1974, color etching. Pencil signed lower right and numbered 78 of 110 lower left. Harcourts Gallery, San Francisco label verso. Provenance: From the Estate of Ms. Adrienne Anderson of Atlanta, Georgia. Approx. 39" x 31" (frame), 29.25" x 21.25" (sheet).
• RUFINO TAMAYO, COLOR LITHOGRAPH,
  RUFINO TAMAYO, COLOR LITHOGRAPH, 1950 Rufino Tamayo (Mexican,1899–1991), "Hombre, Luna y Estrellas", on Arches, pencil signed and numbered XXX/LX along lower margin, La Guilde de Gravures blindstamp lower left, framed under glass, 22"h x 14.75"w (sight), 28"h x 21"w (frame)
• RUFINO TAMAYO MIXED MEDIA ON CANVAS
  RUFINO TAMAYO MIXED MEDIA ON CANVAS BOARDRufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later 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, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• Rufino Tamayo (Mexican, 1899-1991)
  Rufino Tamayo (Mexican, 1899-1991) "Sandias", 1972, color lithograph on Arches paper, 36" x 24", signed in pencil lower right "R. Tamayo", numbered "25/100", published by Transworld Art and printed in Bank Street Atelier, New York. Glazed, matted and presented in a contemporary silver studio frame. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana; Purchased from the Greer Gallery, New York, in November, 1972. Reference: Juan Carlos Pereda, Rufino Tamayo: Catalogue Raisonne: Grafica/Prints 1925-1991; this print is catalogue number 133 and is illustrated on page 124.
• RUFINO TAMAYO, ETCHING, 1979Color
  RUFINO TAMAYO, ETCHING, 1979Color Mixografía print by Rufino Tamayo (Mexican, 1899-1991), 1977. Paisahe con Luna. Signed and numbered XV/XX in white pencil. Printed and published by Taller de Gráfica Mexicana, Mexico City. Sheet measures 19 1/2" x 27", framed to 28" x 36".ck in the glass on the lower left hand corner. Excellent condition, crack in the glass on the lower left hand corner. This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
• RUFINO TAMAYO "ESTUDIO" GRAPHITE ON
  RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later 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, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• RUFINO TAMAYO, MODERN FIGURAL COLOR
  RUFINO TAMAYO, MODERN FIGURAL COLOR ETCHING Rufino Tamayo (Mexican, 1899-1991). "Personaje En La Ventana" -1980, color etching. Pencil signed lower right and numbered 59 of 99 lower left. Harcourt Gallery, San Francisco label verso. Provenance: From the Estate of Ms. Adrienne Anderson of Atlanta, Georgia, noted local artist. Approx. 40" x 32" (frame), 29.5" x 22" (sheet).
• RUFINO TAMAYO (mexican 1899-1991)
  RUFINO TAMAYO (mexican 1899-1991) "CABEZA EN GRIS" from "rufino tamayo 15 litografías 1973" 1973, signed and numbered 10/75 in crayon; ediciones polígrafa, publisher and printer. color lithograph on guarro. 29 3/4 x 22 in. (75.5 x 55.8cm) [fundación tamayo 150]. unframed provenance: Private Collection, Pennsylvania. ,000-1,500 Fine original condition apart from some handling creases. The full sheet, printed to the edges, with good colors.
• RUFINO TAMAYO (1899-1991): CABEZA
  RUFINO TAMAYO (1899-1991): CABEZA CON INICIALESRufino Tamayo, Mexican, 1899-1991 Cabeza con Iniciales, etching and aquatint with carborundum on Guarro 1975; signed and numbered 69/75 in black crayon (there were also 10 artist's proofs in Roman numerals); published by Editiones Poligrafa, Barcelona etching and aquatint with carborundum on Guarro Dimensions: Sheet: 29 1/2 x 22 1/4 in. (74.9 x 56.5 cm.), Frame: 35 x 28 x 2 3/4 in. (88.9 x 71.1 x 7 cm.) Condition: Framed floating in acrylic box frame
• RUFINO TAMAYO COLOR ETCHING,
  RUFINO TAMAYO COLOR ETCHING, ABSTRACTED FIGURE Rufino Tamayo (Mexican, 1899-1991). "Figura en Negro" -1980, color etching. Pencil signed lower right and numbered 40 of 99 lower left. Harcourts Gallery, San Francisco label verso. Provenance: From the Estate of Ms. Adrienne Anderson of Atlanta, Georgia. Approx. 40" x 32" (frame), 29.5" x 22" (sheet).
• After Rufino Tamayo (1899-1991)
  After Rufino Tamayo (1899-1991) Untitled TapestryNumber 5 from an edition of 25 wool with woven artist signature 82 1/2 x 65 inches
• WORK ON PAPER, AFTER RUFINO
  WORK ON PAPER, AFTER RUFINO TAMAYO After Rufino Tamayo (Mexican, 1899-1991), "Animals (1941)," pastel on paper after an oil on canvas held at the Museum of Modern Art, New York, bears signature lower right, overall (with frame): 22"h x 27"w. Provenance: Property of a prominent Hillsborough, CA estate.
• TAMAYO, Rufino. Signed Color
  TAMAYO, Rufino. Signed Color Lithograph #3 depicting a figure waving. Pencil signed and edition 138/150. Rufino Tamayo, Mexico/New York, 1899-1991. Size:28.5 x 21.75 Condition: Good. Provenance: Sutton Place estate.
• Rufino Tamayo (Mexican,
  Rufino Tamayo (Mexican, 1899-1991) Torse de Femme (from Mujeres), 1969 lithograph signed and inscribed 'H.C.' in pencil 27 1/2 x 20 inches. Property from a Private Collection, Houston, Texas
• A copy of Rufino Tamayo:
  A copy of Rufino Tamayo: Catalogue Raisonne Grafica / Prints 1925-1991.