Art

Lithograph from five zinc plates, using tusche and crayon with splatter, printed in red, orange, green, black, and pink. On J Green paper (250 gsm) Signed, numbered and dated '68 in ...

Crimson glass feathers are gathered into a fiery composition in this dramatic wall sculpture by artist John Paul Robinson. The work is enhanced by the pa...

Three textured glass cocoon shapes in clear, charcoal grey and black are curated vertically in this unique wall sculpture by Julia Reimer. Inspired by nature, the elements resemble ...

Original engraving by Johann Wilhelm Weinmann from "Phytanthosa Iconographia." Ratisbon, 1737-1745. This plate: N. 304 Caranna.[Palm Tree]. Mezzotint engraving printed in color and f...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Color lithograph, Edition 25. In Man’s Ruin, a wolf is portrayed as a nurse, two iconic images often seen in tattoo flash. Below the wolf are two brigh...

Original engraving by Johann Wilhelm Weinmann from "Phytanthosa Iconographia." Ratisbon, 1737-1745. This plate: No. 113 Ananas Folio Latiore. Mezzotint engraving printed in color and...

Anton Schutz, 'White House', etching, edition not stated, c. 1928. Signed in pencil. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper...

Original engraving, hand-colored at the time of publication, after the work of George Edwards from "Sammlung verschneider auslandischer und seltener Vogel" by Johann Michael Seligma...

Le Clown Blanc (The White Clown) Lithograph, 1964 Unsigned (as issued by DLM) From: Derriere le Miroir Chagall: Dessins et Lavis, Exposition...

Lush layers of white paint in expressive brushstrokes form a geometric pattern that plays out across the canvas in this engaging abstract by Ivo Stoyanov. Internationally recognized ...

Rose Fan is an expertly crafted, embossed serigraph on paper with foil stamping and an image size of 18.75 x 14.5 inches. From the edition of 650, the art is numbered CCXXVI/CCC and ...

John Melville Kelly, 'Mokihana (Hawaii)', drypoint, 1946. Signed, titled, and annotated 'No 5' in pencil. A superb, finely nuanced impression, in dark brown ink, on cream wove Japan ...

Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...

Still life woodcut and lithograph on Rives Creme paper.

Floating Books is a lithograph on paper with an image size of 3.5 x 2.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fr...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

John Paul Robinson creates original contemporary wall sculptures from coloured glass that are filled with light. This piece features elegant arched deep blue tubes of glass that are polished to a smooth finish and overlap one another to create a dynamic composition. The Canadian artist often explores themes related to how the world works. This is one of a series intended to represent the dual nature of light as both a particle and a wave. In physics, the wave nature of light is referred to as a "probability wave". “The thickness of the glass and curvature of the lens conspire to create their own optical effect. As your gaze moves across the piece it causes the small grains of coloured glass to shift just a bit. Starry Starry Night...

Lithograph and chine appliqué 64.5 x 54 cms (25 3/8 x 21 1/4 ins) Edition 50 Paper: Arches paper; Japanese Gampi handmade paper Other Collaborators: Image transferred from Mylar to...

Fritz Eichenberg, 'The Aquarium', wood engraving, 1933, edition 200. Signed and titled in pencil. Initialed in the block, lower right. A superb, richly-inked impression, on pale yel...

Merida, Carlos (Guatamala/Mexico, 1891-1985). MEXICAN COSTUME. Pocahontas Press, Chicago, 1941. Edition of 1000. Folio (16 1/2 x 13 1/2 inches), portfolio, cloth-backed boards, with ...

Solo is a lithograph on paper with an image size of 2 x 2.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray frame. Numbere...

Suspended Sentence is a lithograph on paper with an image size of 1.5 x 2 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray ...

Christmas Tree is a lithograph on paper with an image size of 2.25 x 2.25 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray ...

Day Room is a lithograph on paper with an image size of 2.25 x 3.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray frame. ...

Night Room is a lithograph on paper with an image size of 2.25 x 3.25 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fram...

Balloon Moon is a lithograph on paper with an image size of 1.75 x 2.5 inches, initialed 'FMB' lower right and annotated lower left, framed in a contemporary silver and dark gray fra...

Medium: Pen and Ink on Illustration Board Signature: Signed Lower Right This piece is on 22.00" x 14.00" illustration board, with a 12.75" x 10.00" image. Caricature by George Wach...

Brigitte LUSTENBERGER (*1969, Switzerland) Kaleidoscopic vision, 2023 From the series 'An Apparition Of Memory' C-print 100 x 132.5 cm (39 3/8 x 52 1/8 in.) Edition of 5, plus 2 AP; ...

And Then Red is a screenprint on paper from the edition of 50, 15.75 x 15.75" image size, signed and dated 'Takashi '99' and numbered 45/50 in pencil verso. Framed in a custom, gold-...

Ricardo Mazal Tee 2 (Beige 2), 2023 Acrylic on natural silk mounted on aluminum panel 18 x 19 inches RM541 Ricardo Mazal is perhaps best known for his near decade-long investigation...

Roy Lichtenstein Untitled I, 1980 Soft-ground etching on mold-made Lana paper 23 x 20 5/8 inches Edition of 8 Signed and dated by the artist in the lower right Unframed

Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed. New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde." Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

A contemporary wall sculpture hand forged from steel acquires an expressive undulating form in the hands of artist Stefan Duerst. This horizontal piece is actually two pieces that ov...

EMMA SUMMERTON (*1970, Australia) In the Caul, 2023 Archival pigment print on Hahnemühle paper, hand-embellished with ink and watercolour mounted on Aluminium Dibond with wooden back...

Calligraphy Lithograph, 1969 Edition: 260 Signed in script by the artist (see photo) Signed with initials and dated by the artist (see photo) Publication for the Print Club of Cleveland, No. 47 for 1969 Printer: Hollander Workshop, New York, with their chopstamp (see photo) Ulfert Wilke (1907–1987) was an internationally recognized painter, calligrapher and art collector connected to the abstract expressionism movement. He was born in Bavaria, Germany, and immigrated to the United States in 1938. He is best known for his large canvas paintings...

Two Boys (one standing, the other seated and drawing) Graphite and colored pencils on wove paper, 1975 Signed and dated lower left center (see photo) Condition: Excellent Slight waviness visible only on reverse Image size: 11 1/2 x 13 3/4 inches Sheet size: 14 x 17 3/4 inches Provenance: Estate of the Artist By descent Mary Spain (Colie) (1934-1983) Mary Spain was born in Raleigh, North Carolina. She taught art in Chagrin Falls...

Lyonel Feininger (1871-1956), Wagon Crossing a Bridge (Wagen auf einer Brucke), woodcut, c. 1941, signed in pencil lower left, with the artist’s work number lower center (1867). Reference: Prasser W 82, only state. In very good condition, with margins, 3 1/2 x 4 3/4, the sheet 4 7/8 x 6 7/8 inches. A fine fresh proof impression of this intricate cubist composition, printed in black ink on a thin Japan wove paper. Prasser notes a few proofs, on various papers, some unsigned. This print was included as No. 5 of the portfolio Ten Woodcuts by Lyonel Feininger, 1941, edition of 30; as with many of his small woodcuts...

Untitled (Portrait) Drypoint printed in blue-black graphite mixed with silver, 1974 Signed and dated lower ight (see photo) From: Series entitled Six Drypoints Edition: 23 (4/23) Numbered lower left (see photo) Print Shop: Crown Point Press Printer: Jeannie Fine Publisher: Parasol Press, New York Note: A portfolio is in the collection of the National Gallery, Australia, Fine Arts Museums of San Francisco- de Young/Legion of Honor, Davis Museum at Wellesley College and the Yale University Art Gallery. Condition: Excellent Image/Plate size: 6 3/8 x 5 3/8 inches Sheet size: 24 x 20 inches From a portfolio of six drypoints, printed with unqiue combination of blue-black graphite shavings combined with silver to create the appearence of an original drawing. I know of no other artist to use a similar printing technique. William Bailey studied art at the University of Kansas, Yale University and Yale School of Art where he studied with Josef Albers receiving his MFA in 1957. Mr. Bailey’s first exhibition in New York was at Robert Schoelkopf Gallery in 1968, where he showed regularly until its closing in 1990. During the 90’s he exhibited at the Andre Emmerich Gallery and on its closing, exhibited at the Robert Miller Gallery. In 2004 Bailey moved to the Betty Cuningham Gallery where his most recent exhibition was held from April 30 - June 11, 2016. Mr. Bailey’s work has been exhibited extensively in both America and Europe. He is represented in the collections of The Whitney Museum of American Art, The Museum of Modern Art, the Pennsylvania Academy of Fine Arts, and the Hirschhorn Museum and Sculpture Garden, among others. He was awarded a Guggenheim Fellowship in painting in 1965. Mr. Bailey was elected to The National Academy of Design in 1983 and to The American Academy of Arts and Letters in 1986. Mr. Bailey taught at The Yale School of Art from 1958 to 1962 and from 1969 to 1995. He has also taught at The Cooper Union, University of Pennsylvania and Indiana University. He maintains studios in New Haven and in Umbertide, Italy. Courtesy Betty Cunningham Gallery Tribute to William Bailey THE NEW YORK TIMES William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. William Bailey, Modernist Figurative Painter, Dies at 89 He swathed his nudes and still lifes of eggs, vases, bottles and bowls in a breathless, deceptively serene atmosphere heavy with mystery. The painter William Bailey in 2009. He was never given a career survey in a major museum, but his influence, particulary on students at Yale, was deep. Ford Bailey By William Grimes for the New York Times April 18, 2020 William Bailey, whose pristine, idealized still lifes and female nudes made him one of the leading figures in the return of figurative art in the 1980s, died on April 13 at his home in Branford, Conn. He was 89. His death was confirmed by his daughter, Alix Bailey. Beyond his painting, Mr. Bailey influenced generations of students in his many years as a teacher at the Yale School of Art. In some of his best-known work, Mr. Bailey arranged simple objects — the eggs, bowls, bottles and vases that he once called “my repertory company” — along a severe horizontal shelf, or on a plain table, swathing them in a breathless, deceptively serene atmosphere heavy with mystery. His muted ochres, grays and powdery blues conjured up a still, timeless world inhabited by Platonic forms, recognizable but uncanny, in part because he painted from imagination rather than life. “They are at once vividly real and objects in dream, and it is the poetry of this double life that elevates all this humble crockery to the realm of pictorial romance,” Hilton Kramer wrote in The New York Times in 1979. Mr. Bailey’s female figures, some clothed in a simple shift or robe and others partly or entirely nude, are disconcertingly impassive, implacable and unreadable, fleshly presences breathing an otherworldly air. The critic Mark Stevens, writing in Newsweek in 1982, credited Mr. Bailey with helping to “restore representational art to a position of consequence in modern painting.” But his version of representation was entirely idiosyncratic, seemingly traditional but in fact “a modernism so contrarian,” the artist Alexi Worth wrote in a catalog essay for the William Harrison Bailey was born on Nov. 17, 1930, in Council Bluffs, Iowa. His father, Willard, worked in radio advertising and moved the family from city to city in the Midwest. Bill was in his early teens when his father died. His mother, Marjorie (Cheyney) Bailey, was a homemaker who later worked as an accountant for her second husband, Fred...

Paul Kelpe, Untitled (Abstract Composition), lithograph, 1937, edition unknown but small. Signed and dated in pencil. A fine, richly-inked impression, with all the nuanced texture an...

A painting by Alexander Calder. "Mickey Mouse" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and oran...

Roy Lichtenstein (October 27, 1923 in Manhattan, New York City; † September 29, 1997 there) was an American teacher and painter of Pop Art. Next to Andy Warhol, he was probably the ...

Pablo Picasso (1881-1973), Le Couple, 1951, drypoint on chine volant, signed lower right margin and numbered (5/XI) lower left margin. References: Bloch 690,...

Canadian sculptor Floyd Elzinga finds inspiration for his iconic imagery in nature. From his studio on the rugged Niagara escarpment, he creates beautiful sculptures using natural forms—trees, the maple leaf and pine cones. This new series of pine cones are superbly detailed, and hand forged from bronze. The polished finish lends an elegance to these tabletop pieces. “The natural world is fundamentally my inspiration, and it is strongly reflected in my subject matter.” Floyd Elzinga His pinecone...

Les Bijoux Indiscrets (The Indiscreet Jewels) Color lithograph, 1962-3 As published in XXeme Siecle, 1963 From the edition issued by San Lazarro unsigned for the album XXeme Siècle No.22. Printed from the same stones and at the same date as the signed edition of 75 impressions. Printed at the studio of Mourlot, Paris 1963. Signed in the stone (see photo) Titled in the stone (See photo) Edition c. 2000 Reference: Kaplan and Baum: Magritte Graphic Work no 3. Kaplan, Surrealist Prints, Figure 80, page 103 Image size: 9 3/16 x 11 7/8 inches "Executed in 1963, Les bijoux indiscrets (pen and ink drawing) is a work which shows a hand which has a face, its eyes closed, on its wrist. Magritte had originally intended to call the oil version of this work, which he conceived of in 1962 but only finally painted during the following year, the same this work on paper was created, La divine comédie, but according to the catalogue raisonné changed his mind following the suggestion of his friend Paul Scutenaire. Instead of the Dante reference, it was replaced by one to Denis Diderot's first novel, a satire in which a monarch had a magic ring able to make the genitals of women speak. In an old English translation, the bijoux were the 'toys', or genitals, of the women, making the play on the notion of transformative and elusive jewels evoked by Magritte's picture all the more complex. For here, in place of a bracelet, is a human face: this is, indeed, an indiscreet jewel; however, in the eighteenth-century novel the indiscretion was shared by the ring which was able to gain such voluble responses from the women of the fictitious Congo of which the main protagonist was sultan and by those women's no-longer-private parts themselves. This title therefore adds an extra layer of Surrealism to the work, paying homage to one of the movement's predecessors. Les bijoux indiscrets is a preparatory work for a lithograph that Magritte created for XXe Siècle, which was published at Christmas the same year. Clearly, the artist was returning to and embellishing his original composition, which had shown a simple landscape as a backdrop to the articulate hand...

Sketch of Anne Lithograph, 1923-1924 Signed and titled by the artist, signed by his printer Bolton Brown Edition: 42 Printed by Bolton Brown (see photo of his signature in pencil) Pr...

Birthday 3-7-65 Lithograph, 1965 Signed, titled, dated and numbered in pencil (see photos) Edition: 23 Published by ULAE, their chop stamp lower left (see photo) Printed by Ben Berns...

Action Plus Lithograph, 1950 Signed lower right (see photo) Titled lower left (see photo) Edition 250 Published by Associated American Artists, New York Illustrated: AAA catalogs 1950-01 and 1950-02 Reference: AAA Index No. 1072 Condition: Excellent Slight aging to paper Image size: 9 1/4 x 14 1/2 inches Sheet size: 12 x 15 7/8 inches Clarence William Anderson Clarence William Anderson (1891–1971), born in Wahoo, Nebraska, and known professionally as C.W. Anderson, was a writer and illustrator of children's books. Anderson had an interest in horses and drawing. When he wasn't out riding horses, he was drawing them, taking great interest in their bone structure and conformation. Anderson started his career by illustrating for other authors, but eventually began developing texts to accompany his realistic and lively black and white drawings. He is best known for his "Billy and Blaze" book series. The adventures of Billy and Blaze revolve around proper care of the horse, while teaching a lesson. Anderson would go to great lengths to give accurate information. He would even go on to write Heads Up, Heels Down as a training tool for young horse lovers. All of the stories Anderson wrote would be based on true stories or people that he knew-only the plots were fictitious. By the end of Anderson's life, he had written and illustrated over thirty-five horse books, and had also created covers for the Saturday Evening Post. Anderson is the namesake for Andy's Summer Playhouse, a youth theater in Wilton, New Hampshire.[1] Anderson also was a member of the Society of American Graphic Artists. Artwork portfolios • All Thoroughbreds, Harper and Brothers Publishers, 1948 – 20 illustrations • Post Parade, Harper and Brothers Publishers, 1949 – 15 illustrations • Turf and Bluegrass, Harper and Brothers Publishers, 1950 and 1952 – 15 illustrations • Grey, Bay, and Chestnut, Harper and Brothers Publishers 1952 and 1955 – 10 illustrations • Colts and Champions, Harper and Brothers Publishers, 1955 and 1956 – 10 illustrations • Accent on Youth, 1958 – 10 illustrations • Bred to Run, 1960 – 12 illustrations • The Look of a Thoroughbred, 1963 – 8 illustrations • Before the Bugle, 1965 - 9 illustrations • The World of Horses, 1965 – 8 illustrations • Fillies and Colts, year unknown – 5 illustrations • Man O'War, Horse of the Century, 1970 – 8 illustrations Works As author and illustrator • And So to Bed...

Please bear in mind that all prints are produced to order and lead times are expected between 15-20 days. Alstroemeria 'Cyprus' is a vibrant Archival Pigment Print available in an ...

A highly polished stainless-steel ball framed by a rectangular cardinal red form appears to float in this dynamic table-top sculpture by Philippe Pallafr...

“Crosstown Traffic” is a color lithograph by Emilio Sanchez. Created in 1998, this impression is unsigned and came to us directly from the Emilio Sanchez Estate (circular estate stam...

Nude Reclining on a Mat Ink on paper, n.d. Signed in red ink lower right Same model used in Elliott & Wooden pages 198 and 199 Condition: Excellent Provenance: Estate of the Artist Warren Shaull, Dodge City, KS (collector's stamp verso) Aaron Bohrod (21 November 1907 – 3 April 1992) was an American artist best known for his trompe-l'œil still-life paintings. Education Bohrod was born in Chicago in 1907, the son of an emigree Bessarabian-Jewish grocer. Bohrod studied at the School of the Art Institute of Chicago and the Art Students League of New York between 1926 and 1930. While at the Art Students League, Bohrod was influenced by John Sloan and chose themes that involved his own surroundings. Career He returned to Chicago in 1930 where he painted views of the city and its working class. He eventually earned Guggenheim Fellowships which permitted him to travel throughout the country, painting and recording the American scene. His early work won him widespread praise as an important social realist and regional painter and printmaker and his work was marketed through Associated American Artists in New York. Bohrod completed three commissioned murals for the Treasury Departments Section of Fine Arts in Illinois; Vandalia in 1935, Galesburg in 1938 and Clinton in 1939. During World War II, Bohrod worked as an artist; first in the Pacific for the United States Army Corps of Engineers' Army War Art Unit...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master of ...

Etching on paper

Linocut on paper

Der Wald or The Forest consists of nine wood block prints in a single portfolio. In each of the nine images a single tree is printed cleanly in solid black on manila colored archival...

For Calgary artist Aron Hill the sun is often a focal point for their fresh, boldly coloured minimalist paintings. This composition in deep purple, hot pink, red and bright yellow is...

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" Sheet size: 25 3/8 x 18 5/8" Reference: Montesquiou XII Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second Impressionist Exhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. Following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style. When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note. Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they became popular fixtures. On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved a revelation. In Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints. Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged him to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, like Monet, refused to participate. Paul Helleu Sketching with His Wife (1889), by John Singer Sargent, The Brooklyn Museum, New York In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography of Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Past as the painter Elstir. (Later, Helleu engraved a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to expand his career as a portrait artist to elegant women in the highest ranks of Paris society, portraits that provide the basis for his modern reputation. His subjects included the Duchess of Marlborough, the Marchesa Casati...