William Gropper Figurative Prints

Original Lithograph by Jean Cocteau Title: Europe's Diversity Signed in the plate Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky 1961 Jean Coc...

After Pablo Picasso 1881 - 1973 The Dwarf Dancer (Barcelona Series) - 1966 Framed Offset Color lithograph signed, dated and dedicated at the bottom "For L...

Leonor Fini - Red-Hair - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigne...

André Planson - French Province Original Lithograph Handsigned Dimensions: 38 x 28 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...

Lithograph after a drawing by Jean Cocteau Title: The Toreador 1971 Signed in the plate Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" published by Soc...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

(after) Jules Pascin Title: Femininity Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) Jules Pascin, born Julius Mordechai Pincas, was a Bulgarian Jewish painter sometimes referred to as "the Prince of Montparnasse." He was born on March 31, 1885 in Vidin, Bulgaria to a Spanish-Sephardic Jewish father and a Serbian-Italian mother, the eighth of eleven children. The Pincas family moved to Bucharest, Romania in 1892 and Pascin was raised there until he left for boarding school in Vienna in 1896. While briefly working for his father’s grain merchant firm in Bucharest at fifteen, Pascin spent much of his time completing his earliest drawings in the local bordello, where he was residing under the Madame’s protection. In 1902, at the age of seventeen, Pascin moved to Vienna to study painting. The next year, he studied at the Heymann Art School in Munich. There, he supported himself by selling satirical drawings to Simplicissimus and other German magazines. Pascin would contribute drawings to a Munich daily through 1929. Pascin’s contributions were widely recognized for their wit and insight, and upon his arrival in Paris in 1905 he was welcomed at the Gare Montparnasse by an international group of artists and writers who gathered at the Café du Dôme, which Pascin soon began to frequent regularly. The group included Grossman, Grosz, William Howard, Levy, and Emil Orlik. Pascin was also a close friend of Amadeo Modigliani. Upon his arrival in Paris, Julius Mordechai Pincas changed his name to Jules Pascin and soon became the symbol of the Montparnasse artist community. Always in his bowler hat, he was a witty presence at Le Dôme café, Le Jockey club, and the others haunts of the area’s bohemian society, and was known for hosting legendary all-night parties. In his story, A Moveable Feast, Ernest Hemingway wrote a chapter titled With Pascin At the Dôme, recounting a night in 1923 when he had stopped off at Le Dôme and met Pascin escorted by two models. Hemingway's depiction of the events of that night is considered one of the defining images of Montparnasse at the time. In 1907, Pascin had his first solo exhibition at Paul Cassirer Gallery in Berlin. Three years later, Cassirir commissioned Pascin to illustrate Heinrich Heine's Aus den Memoiren des Herrn von Schnabelewopski. In 1911, Pascin exhibited his work at Berlin Secession and a year later at the Sonderbund-Aussstellung in Cologne. The artist’s first exhibition in the United States was at the Armory Show in New York, where he exhibited twelve of his works. Upon the outbreak of World War I, Pascin left Paris for London in order to avoid conscription in the Bulgarian Army. In October 1914, he immigrated to New York, where he stayed through 1920 and would later return again in 1927. Pascin was immediately welcomed into an artists circle based around the Penguin Club and became acquainted with John Quinn, an important art collector. A short time after his arrival in New York, Pascin was given a one-man show by the Berlin Photographic Company, a Madison Avenue gallery. While in New York, Pascin became associated with several progressive painters, including Walt Kuhn, Yasuo Kuniyoshi, and Max Weber. Many of these painters were influenced by Pascin’s unique style, in which he combined elements from Expressionism and Cubism with his own personal view of his environment. Pascin used his time in the United States to travel extensively, especially in the southern states and the Caribbean islands, recording his travels in sketches that were widely acclaimed. Pascin married Hermine David in 1918. In 1920, Pascin was awarded American citizenship with support from Alfred Stieglitz and Maurice Sterne. He returned to Paris in October of that same year and met his future mistress, Lucy Krohg, the wife of the Norwegian painter Per Krohg...

Pablo Picasso (after) - Weeping Woman - Lithograph 1946 Publisher: Albert Carman Dimensions: 48 x 33 cm From Picasso Fiften Drawings

(after) Maurice de Vlaminck Title: Flowers Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) Maurice de Vlaminck (1876 - 1958) Maurice was three years old when his family moved from Paris to Vésinet. He first pursued the same musical career as his parents, who were both musicians, leaving his home as a trained double-bass player in 1892 to move to Chatou near Versailles. After absolving his military service in Vitré Maurice Vlaminck worked as a musician until he accidentally met André Derain in 1900. It was Derain who kindled Vlaminck's artistic ambitions. He decided to become a painter and rented an old hut in which he and Derain shared a studio. A crucial turning point in Vlaminck's artistic development was a visit to a van Gogh exhibition...

Untitled Original Lithograph by Jean Cocteau with the printed signature, as issued Dimensions: 40 x 30 cm Including artist's stamp Jean Cocteau Writer, artist and film director Je...

after Jean Dubuffet - Meadow - Lithograph 1960 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. From the art review XXème siècle Unsigned and unumbered as issued

(after) Jacques Villon Title: Flowers Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claire...