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Mother en el Mercado de Cuautla
1945-46 Lithograph



From The Dauer Collection

Lithograph on Ivory Wove Paper
25"x21" framed, 18"x15" unframed

Entitled Mother en el Mercado de Cuautla, this 1945-46 lithograph on ivory wove paper scene is signed and titled by the artist, Pablo O'Higgins (one time assistant to Diego Rivera), at the bottom. Excellent vintage condition. Framed in a contemporary sanded walnut wood frame using archival matting behind conservation clear glass.

About the Artist

Pablo O’Higgins (1904-1983) was actually born under the name Paul Higgins in Salt Lake City, Utah, in 1904. His family had migrated westward for the opportunities offered by the expansion known as Manifest Destiny. O’Higgins attended Salt Lake City public schools including East High School, where he was influenced by his teacher LeConte Stewart. In 1924, he traveled to Mexico City to see the murals Diego Rivera was painting. O’Higgins became an assistant to Rivera, working with him on several of his most famous mural projects before becoming a muralist in his own right. He co-founded Mexico’s most important printmaking studio, the Taller de Grafica Popular. Today, Mexico considers him one of the most important muralists of its “second generation” of mural painters. O’Higgins became a Mexican citizen in 1961.

About the Collector

John A. Dauer (1933-2017) was a collector of many things, the vast majority of which convey stories of hard work, craftsmanship, industry, unsung histories, and associations with those he loved and respected. 

Born and raised on Staten Island, New York in 1933, John grew up among a close-knit family of entrepreneurial bakers, wood carvers, and leather merchants. He graduated in 1954 from Columbia College with a bachelor’s degree in anthropology.  He went on to work with his father John Sr., at the New York City-based John A. Dauer Leather Company.

During and after his undergraduate studies, John enrolled in painting, print making, and sculpture classes at Columbia, the New School for Social Research, and Greenwich House. Many of his teachers (including Margot Kempe and Peppino Mangravite) were recent European emigres and WPA artists, sympathetic to the themes of social realism and late modernism.

Although he made his living and supported his family as a leather salesman, John consistently maintained an interest in, and passion for, the creative work of artists and craft people throughout his life. The subjects and scale of his collecting varied over the years (from large 18th century cupboards to hand carved fishing lures), but let’s just say his houses and barns often resembled mini-Mercer Museums.

During his last 2 decades, John focused his collecting efforts on the work of print makers and painters who reminded him or were directly associated with those who influenced him during his New York youth. Images and the stories of sailors, stevedores, factory workers, craftsmen, pushcart vendors, musicians, stoop sitters, and artists abound.