Yves Alix Art

Graceful interweaving of plants with a blur effect in dark green colors - Limited edition giclee Print - with archival inks on Hahnemühle German etching fine art paper. This is a h...

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. Matted to museum standards, unframed. Scarce. Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...

La Soeur de Didon is a black and white lithograph realized by Auguste Legrand (French artist active between 1825 and 1860), after Guérin. Signed on plate on the lower right margin. This is the 32nd plate from a suite of young artists, published by Blaisot, Paris. Printed by Ducarme. In very good conditions, except for very light foxing along the edges. An orange cardboard passepartout is included: 32.5 x 25 cm. This modern artwork represents a wonderful female mythological portrait...

Clare Leighton, 'Fat Stock Market', 1933, wood engraving, edition 100, Boston Public Library 217. Signed, titled, and numbered '11/100' in pencil. A super...

Litografo (Volume I) Spanish edition from 1972. Catalogue of works: Mourlot 864. Slight book fold in the centre of the paper. Miró's development of a new pictorial language led to a consistent restriction to the primary colours black, green, yellow, blue and red, which he implemented in the series of paintings "Constellations" (1940/41) with lines, spots and areas of colour. Like Pablo Picasso and Franz Marc, Miró also worked with graphics and primarily produced etchings and lithographs. Produced in large editions, the artist believed that everyone should be able to afford a print by Miró...

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Litografo (Volume I) Italian edition from 1972. Catalogue of works: Cramer 160. Slight book fold in the centre of the paper. Miró's development of a new pictorial language led to a consistent restriction to the primary colours black, green, yellow, blue and red, which he implemented in the series of paintings "Constellations" (1940/41) with lines, spots and areas of colour. Like Pablo Picasso and Franz Marc, Miró also worked with graphics and primarily produced etchings and lithographs. Produced in large editions, the artist believed that everyone should be able to afford a print by Miró...

The gallery is opening its private collection of art nouveau and art deco paintings, lithographs and antiques for the first time in more than twenty years. Presenting an original li...

An original mid century modern woodblock print. This work is hand signed illegibly and titled "Wedding Party".

Artist: Rene Gruau, Italian (1909 - 2004) Title: Bather Year: circa 1990 Medium: Lithograph on Japon, signed and numbered in pencil Image Size: 20 x 15 inches Frame Size: 27 x 20 inches

Abstract watercolor or gouache composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...