Weyman Lew Art

Leonor Fini - Untitled - Original Handsigned Etching 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...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of joy and come-hither coquettishness. T...

These erotic etchings depict mythological and fantasy creatures as striking nudes. A host of sensuous and shocking figures include a mermaid, Medusa, and women in both jubilant and p...

This Artwork Titlled "Last Year at Marraketch" 1972 is an original color etching and aquatint on B.F.K Rives paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 3/40 in pencil by the artist. The plate mark (image) size is 15.25 x 19.5 inches, sheet size is 21.75 x 29.65 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

This Artwork Titlled "Hellas" 1974 is an original color etching and aquatint on Arches paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 26/50 in pencil by the artist. The plate mark (image) size is 17.5 x 22.75 inches, sheet size is 22 x 29.85 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

Dufza - Paris Notre Dame - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm Unumbered as issued

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

Benton Spruance, 'Girl with Hands to Face', two-color lithograph, 1940, edition 30, Fine and Looney 180. Signed, titled, and annotated 'Ed. 30' in pencil. A superb impression, on cr...

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938 Andre Derain was born in 1880 in Chatou, an artist colony outside Paris. In 1898, he enrolled in the Academie Carriere in Paris where he met Matisse. He attended art school and in 1900, set up a studio with Maurice deVlaminck. After his military service from 1900-1904, Derain exhibited his work at the Salon des Independants and then at the Salon d'Automne with Matisse, Vlaminck and others, thus creating the movement of Fauvism.He worked with Henri Matisse in 1905 at Collioure, and participated in the 1905 Salon d’Automne with Matisse, Vlaminck, and Braque, the exhibition in which this group was labeled as Fauves, or Wild Beasts. Along with Vlaminck, Derain was one of the first artists to collect the tribal art of Africa which was influential to many of the artists of the early 20th century. In 1906, Derain met Picasso and his dealer, who purchased Derain's entire studio, creating newfound financial success. During this time, he was hired for the illustrations for works by Guillaume Apollinaire and Andre Breton. After World War I, his friend's Cubism movement affected his art, along with influence from Classicism and African Art. Derain stayed in Paris during most of the Occupation, where he was esteemed by the Nazis because of his artistic integrity. Hitler's Foreign Minister commissioned him to paint a family portrait, but he politely refused. His popularity began to decline after the war because of disagreement over new artistic movements. He later lost most of his eyesight due to illness, which may have been the reason he was hit by a truck in 1954, dying from shock at the age of 74. Derain’s Fauve paintings are typically bright with intense color. Influenced by the work of Cézanne as well as the early Cubist paintings of Picasso and Braque’s, Derain’s style changed and by 1912, the paintings became more traditional and structured. For the remainder of his career, he continued to investigate different compositional methods including the perspective of Cézanne and the pointillism of Seurat. He also designed ballet sets and made a number of sculptures. At the turn of the century, Andre Derain exhibited at the radical Fauve Salon d’Automne (1905) and was one of the founding members of the Fauvist movement together with his life-long friends Matisse and Vlaminck. The works he produced in this period, often under the guidance of Matisse, have been counted among the masterpieces of Fauvism. From around 1918, Derain turned his back on the avant-garde and had begun to explore some of the more traditional genres of Western art, including landscapes. His main source of inspiration once the Fauves group had dispersed was found in the Louvre, where he admired the early Renaissance works in particular. Talking of his frequent visits there, he once said, ‘That seemed to me then, the true, pure absolute painting.’ His work evolved through many styles and, most significantly, turned back to the past, particularly after 1922 when Lenin had publicly pronounced his disdain for abstract art. Derain built up an immense and fascinating collection of paintings, sculpture and objets d’art throughout his life which aided his experimentation and was reflected in his work between 1930 and 1945. During these years, his painting technique displayed the most avenues of invention, using a repertoire of primitivist motifs. His eclectic collection was constantly changing. In 1930 he sold his African collection in exchange for bronzes of antiquity and the Renaissance which indicated a real change of interest in the objects, as did his later pursuit of Greek ceramic painting and his enthusiasm for grand cycles of literary and antique themes...

Three women strolling on a beach. This impression is one of the rare impressions printed monochromatically. Hirsch natural inclination was to print in lack and white but reprinted ...