James Coignard

Abstract Expressionist Engraving on Handmade Paper, 'Profile and Letters'.

Abstract Expressionist lithograph on BFK Rives paper of a late 20th century work by French artist Eliane Larus. A lively and highly colourful lithograph...

A double sided work of two abstract expressionist monotypes on hand-made paper from an original work by Martin Engelman. The paper has one monotype to each side. See photos. The work...

A folio sheet from the Album MA by Sándor Bortnyik. Signed in pencil by the artist bottom right, numbered in pencil bottom left, number 50 from the edition of 140. Presented in plain...

Large abstract expressionist oil on canvas of Toulon Rugby Club supporters at a rugby match. Unsigned. Extremely vibrant and energetic depiction of Toulon ...

Abstract Expressionist mixed media montage titled 'Danse Squelettes' by French artist Armand Avril, signed and dated 2002 bottom centre and signed, dated and titled with explanation of the inspiration of this piece to the reverse. Avril's inspiration here is drawn from an exhibition in the Grand Palais de Paris called, 'la mort n'en saura rien' in 1999/2000 in which works come together from across four continents to explore man's differing perspectives on death in different cultures. As always this mixed-media is created with the humour and joy and abandon that the artist puts into all his work. A very strong sculptural image. This montage is made on a flour sack with applied cardboard and acrylic paint. The more sculpted areas of the piece stand out to around 1.5cm from the frame. The piece includes the artist's favourite motifs of cats and skulls. Avril's work will always make you smile and has great energy. Armand Avril was born in 1926 in Lyon. His father, Marcel Avril, was a painter and collector of African art. At 16 Armand became an apprentice shepherd in Provence. Avril could always be seen equipped with a sketchbook and a book on the history of art whilst tending his flock. It was not until the age of 30, in 1956, that Armand embarked on painting as an autodidact, influenced by Raoul Dufy, Pierre Bonnard, Henri Matisse and the Lyonnaise School of Painting. He exhibited for the first time in 1957. In 1960, he left for a one-year trip to Africa. There he met the painter Jean Arène who introduced him to the village of Cotignac in the Var and to Louis Pons...

Lyrical abstract expressionist gouache on paper by French artist Michel Loiseau. Signed bottom right. Michel Loiseau-Rizzo, born in 1937 is an illust...

’Labyrinth’ By William Crozier Medium - Carborundum printmaking, collagraph process Edition - 47/80 Signed - Yes Size - 509mm x 407mm Date - 2007 Condition - Excellent. 10 out of 10....

Minna Citron, 'Flight to Tomorrow', aquatint and engraving, edition unknown but small, 1948. Signed, titled, dated, and annotated 'engr & aqua' in pencil. A superb, richly-inked impression with selectively wiped plate tone, on heavy cream wove paper, the full sheet with margins (1 3/4 to 3 1/2 inches), in excellent condition. Image size 6 7/8 x 8 7/16 inches (175 x 214 mm); sheet size 11 1/8 x 14 7/8 inches (283 x 378 mm). Matted to museum standards, unframed. Literature: The Women of Atelier 17, Modernist Printmaking in MidCentury New York, Christina Weyl, Yale University Press, 2019, p. 186. Collections: Davis Museum (Wellesley), Five Colleges and Historic Deerfield Museum Consortium, Harvard Art Museums, Museum of Fine Arts, Boston, Palmer Museum of Art (Penn State...

Stanley William Hayter, 'Feu sous L'eau (Fire Under Water)', color engraving, soft-ground etching and scorper with yellow silkscreen, 1955, edition 50 plus 10 artist proofs, Black & Moorhead 221. Signed, titled 'Fire Under Water', dated and annotated 'Essai' in pencil. Dedicated in the artist’s hand 'for Adja & Dove WH Bill 17–5–55' in the top margin. A superb, richly inked impression with fresh colors, on heavy, cream wove paper; wide margins (2 1/2 to 3 7/8 inches), in excellent condition. One of 10 artist’s proofs. Image size 10 3/16 x 7 inches; sheet size 18 1/8 x 12 1/4 inches. Matted to museum standards, unframed. ABOUT THIS WORK In 1950 Hayter returned to Paris and reopened Atelier 17. Works such as 'Fire Under Water' reveal newfound influences, such as that of the Ardèche area of southern France, where he acquired a house in 1951 and frequently visited. Hayter took great interest in the flowing Escoutay River, an experience that parallels the artist and co-director of Atelier 17 Krishna Reddy’s interest in depicting water. While some forms in this print evoke the natural world, the palette of contrasting tones of purple, yellow, black, and white reflects Hayter’s belief in using color intuitively to express emotions and evoke feelings. The sharp white relief lines from the paper and the textural effects realized through soft-ground etching operate in tandem with the sweeping curves and bold colors to give the composition a sense of vitality and dynamism. —edited from the Metropolitan Museum of Art Published by 'La Jeune Gravure Contemporaine', Paris. Impressions of this work are in the following collections: British Museum, Metropolitan Museum of Art, National Gallery of Art. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

1987 Color etching, aquatint, drypoint Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower margin

1987 Etching, aquatint and drypoint in colors, on wove paper Sheet: 15 3/4 x 18 3/4 in. Edition of 71 Signed, dated and numbered in pencil, lower margin

Untitled Engraving, drypoint & carborundum, c. 1960's Signed and numbered in pencil lower margin (see photos) Edition: 25 (9/25) Printed by the artist Condition: Adhesive residue on the verso top margin from previous matting. Image/Plate size: 4 1/2 x 4 inches Note: Goetz was born in the United States, moved to Paris and became a noted Surrealist artist and journalist of the surrealist movement. As a printmaker, Goetz invented carborundum printmaking in the 1960’s. In 1968, La gravure au carborundum, a treatise on carborundum printing, was published by the Maeght Gallery. It was prefaced by Joan Miró. Goetz created many abstract prints using this method. Other artists such as Antoni Clavé, Antoni Tàpies, and in particular Joan Miró, employed carborundum printing in their work. Henri Bernard Goetz (1909-1989) Henri Bernard Goetz was born 29 September 1909 in New York, in a family of French and American origin. He studied at Harvard University and the Grand Central Art School before moving to Paris in 1930 where he continued his studies at the Academies Julian and Academies Ozenfant in Montparnasse. After a brief return to the US in the early 1930’s he settled permanently in France, taking a Parisian studio next to Victor Brauner. With Brauner Goetz became involved with the Surrealist group and was soon a highly accomplished exponent. 1935 would be a year of major importance for Goetz: he exhibited for the first time at the Salon des Surindependants, he married the Dutch painter Christine Boumeester and he met Hans Hartung, who would become a close lifelong friend. In 1937 Goetz held his first solo show at Galerie Van Leer, Paris. During the war, having neglected to become naturalized French citizens, Goetz and Boumeester became illegal aliens and both worked in the resistance movement. They printed leaflets on a simple printing press and created posters to paste...