Modern More Art

Salvador Dali (1904-1989) - The Inferno, Canto 8 - The Angry Ones Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les He...

Somnath Hore - Wounds Lithograph on Paper 15 x 22 inches, 1975 (Framed & Delivered) Inclusive of shipment mounted not framed, Should you wish to receive the same framed and shipped ...

Salvador Dali (1904-1989) - The Paradise, Canto 32 - Preparation for Final Prayer Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm P...

Salvador Dali (1904-1989) - The Inferno, Canto 21 - Le Diable noir Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les H...

Salvador Dali (1904-1989) - The Inferno, Canto 4 - Limbo Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures Clai...

Salvador Dali (1904-1989) - The Paradise, Canto 11 - Opposition Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heur...

Marc Chagall (1887-1985) - The Artist in Front of his Picture Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Exce...

Salvador Dali (1904-1989) - The Inferno, Canto 30 - Les Hommes qui s'entre-dévorent Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm ...

Salvador Dali (1904-1989) - The Paradise, Canto 4 - Beatrice Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures ...

Salvador Dali (1904-1989) - The Inferno, Canto 34 - Apparition de Dite Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: L...

Salvador Dali (1904-1989) - The Inferno, Canto 23 - Le Supplice de hypocrites Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

Salvador Dali (1904-1989) - The Inferno, Canto 19 - The Simonists Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les He...

Marc Chagall (1887-1985) - Clown in Love Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

K. Laxma Goud Intaglio on Paper 6.5 x 10.5 inches 16.5 x 26.7 cm ( Unframed & Delivered ) Style : Goud displays versatility over a range of mediums, from printmaking, drawing, w...

J'Etait Paresseuse is an original lithographs by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions ...

Anupam Sud - Pastel on Paper 11 x 10 inches 2002 ( Unframed & Door Delivered ) Born January 15, 1944 Hoshiarpur, Punjab Education 1990 Study Tour of USA u...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche XXXV Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in ...

Atul Dodiya Untitled Etching on Paper 21 x 14 inches, 2017 ( Unframed & Delivered ) In this etching, Atul merges abstraction and figuration to explore the vulnerability of the human...

The Lord is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux", 1852. Published by Manesq & Harvard, Paris. Good Conditions but aged. ...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche LV Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in fr...

Pablo Picasso (1881-1973) - Faune et fuemme nue Lithograph from 1967. The edition of 29/500 on Auvergne Richard de Bas paper. With two watermarks - one of the paper, second of the...

Screenprint on mirror, engraved signature at lower right

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Le Diable à Paris is an original modern rare book written by Various Authors and illustrated by Paul Gavarni (1804 – 1866) and by Jean Ignace Isidore Gérard (Nancy, 1803 – Vances, 1847) in 1869. Original First Edition. Published by Hetzel & Cie, Paris. Format: 4°. The book includes 816 pages in 4 volumes. Hundreds of lithographs (several are full page Lithographs). Very good conditions. Paul Gavarni (1804 – 1866) and by Jean Ignace Isidore Gérard (Nancy, 1803 – Vances, 1847). Paul Gavarni was the nom de plume of Sulpice Guillaume Chevalier (1804 – 1866), a French illustrator, born in Paris. Among his illustrated works were Les Lorettes, Les Actrices, Les Coulisses, Les Fasizionables, Les Gentilshommes bourgeois, Les Artistes, Les Débardeurs, Clichy, Les Étudiants de Paris, Les Baliverneries parisiennes, Les Plaisirs champêtres, Les Bals masqués, Le Carnaval, Les Souvenirs du carnaval, Les Souvenirs du bal Chicard, La Vie des jeunes hommes, and Les Patois de Paris. He had now ceased to be director of Les Gens du monde; but he was engaged as ordinary caricaturist of Le Charivari, and, while making the fortune of the paper, he made his own. His name was exceedingly popular, and his illustrations for books were eagerly sought for by publishers. Le Juif errant, by Eugene Sue (1843, 4 vols. 8vo), the French translation of Hoffman's tales (1843, 8 vo), the first collective edition of Balzac's works (Paris, Houssiaux, 1850, 20 vols. 8 vo), Le Diable à Paris (1844–1846, 2 vols. 4 vo), Les Français peints par eux-mêmes (1840–1843, 9 vols. 8vo), the collection of Physiologies published by Aubert in 38 vols. 18mo (1840–1842), all owed a great part of their success at the time, and are still sought for, on account of the clever and telling sketches contributed by Gavarni. Jean Ignace Isidore Gérard (Nancy, 1803 – Vanves, 1847), generally known by the pseudonym of Jean-Jacques, J. J. Grandville or most commonly simply Grandville, was a French caricaturist. Grandville's ability for political provocation made his work much in demand. He worked in a wide variety of formats, from his first job illustrating the parlor game Old Maid, to illustrated newspaper strips of which he was a master. His illustrations for Le Diable à Paris ("The Devil In Paris"; 1844–46) were used by Walter Benjamin for his study of that city as an urban organism. One of Grandville's supreme achievements, at a time when French printing technology was ascendant, was Les Fleurs Animées, a series of images that are both poetic and satirical. But perhaps his most original contribution to the illustrated book form was Un Autre Monde, which approaches the status of pure...

L'Assiette au Beurre is a Comic Magazine published in 1902, reproducing drawings by Armand Clément. Good condition on a yellowed paper, except for some torn paper on the left margin...

Pablo Picasso (1881-1973) - Jacqueline at the Stamen Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimen...

Collect these Autograph Letters Signed by Jacques-Émile Blanche (1861 –1942) to the Count and the Countess Pecci-Blunt. This lot is composed of three items, in French, written from 1929 to 1933. Excellent conditions, perfectly readable. Including original envelopes. In details: Autograph Greeting Card Signed. Paris, May 10th 1929. One page, double-sided, on light blue colored paper. On letterhead paper "Offranville- Seine Inférieure". Autograph Letter Signed. Paris, December 11th 1932. One page, three-sided. Autograph Letter Signed. Paris, May 24th 1933. One page, three-sided. On letterhead paper " 19. Rue du Docteur Blanche. XVI". Letter of request. Confidential Letters concerning the organization of literary conferences at one of the Countess Pecci Blunt' residences. The letter of request written in 1933, stands out: the French painter asks to the Count Blumenthal for advise on evaluating an investment! Jacques-Émile Blanche (1861 –1942) The French artist, largely self-taught, Jacques-Émile Blanche, became a very successful portrait painter, active in London and Paris, with a style derived from 18th-century English painters such as Thomas Gainsborough as well as Édouard Manet and John Singer Sargent. He had the honor to exhibit at the Salon and the Société Nationale des Beaux-Arts. In 1902, Jacques-Émile Blanche took over the direction of the Académie de La Palette, where he would remain director until 1911.He taught at the Académie Vitti in 1903. He was still today remembered to have portrait characters of the mondan and literary world like one of his closest friend, Marcel Proust, the poet Pierre Louÿs, the Thaulow family, Aubrey Beardsley,Yvette Guilbert, Virginia Oldoini, Countess of Castiglione, James Joyce, Julia Stephen, Edgar Degas, Claude Debussy, Auguste Rodin, Colette, Thomas Hardy, John Singer Sargent, Charles Conder, Percy Grainger, and Tamara Karsavina...

Pablo Picasso (1881-1973) - Midas Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensions of sheet: 40 ...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche LVIII Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in...

Ex Libris is a Modern Artwork realized in the mid-20th Century. Woodcut print on paper.  Good conditions.

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 92, plate #125 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

Pablo Picasso (1881-1973) - The Goat with Rubble Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimension...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche LVII Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in ...

Pablo Picasso (1881-1973) - The Taste of Happiness, Planche LXIII Lithograph from 1970. An unsigned and unnumbered edition of 666. Dimensions of sheet: 32.5 x 25 cm Dimensions in...

Hans Hartung (1904-1989) - Hommage à San Lazzaro Lithograph from 1975. Edition 371/575 (Photocopy of the colophone is included). Dimensions of work: 31 x 24 cm. Each copy of this...

Pablo Picasso (1881-1973) - The Goat at the Packing Crate Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. ...

Pablo Picasso (1881-1973) - The Werewolf Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensions of she...

Pablo Picasso (1881-1973) - The Man with Cats II Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimension...

Pablo Picasso (1881-1973) - Jacqueline with a Bird’s Gaze Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. ...

Pablo Picasso (1881-1973) - The Deepest Silence Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensions...

Pablo Picasso (1881-1973) - Tohu Phototype and pochoir from 1962. From the edition of 1,000 copies, this example is number 334, as noted in the colophon. Dimensions of sheet: 40 x...

Engraving on silver plate numbered 24/100 and signed Augusto Perez (Messina, 1929 - Naples, 2001) Augusto Perez made his debut in the 1951 Neapolitan co...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Harding Black San Antonio (1912 - 2004) Huge Heavy Crackle Vase 1985 Height 14'' Across Widest 8" Biography Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, new York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self taught. I find it amazing that anyone could ever accomplish what he did with with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas By concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these pollychromed vessels and he began attempting to create hand built pots. He had very little or no success but a life long of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933 he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio in a streetcar behind Witte Museum and began teaching children’s ceramic classes 1937-39 Appointed Superintendent of Ceramic Installation for N Y A /W P A reconstruction project in San Antonio 1943 Moved from streetcar studio to new facilities in the reconstructed Ruiz House on the grounds of the Witte Museum Began firing to stoneware temperatures 1947-54 Exhibited each year in the annual National Ceramic Exhibition, Syracuse Museum of Art 1951 Exhibited at the National Museum of Art, Washington, DC 1952 Toured ceramic centers throughout the United States 1953 “Opening the Door to Copper-Reds” by Harding Black, published in January issue of Ceramics Monthly “Harding Black Profile” published in February issue of Ceramics Monthly 1954 “Iron Spotted Glazes” by Harding Black, published in February issue of Ceramics Monthly 1955 Built present studio at 8212 Broadway, San Antonio Retired from teaching at the Witte Museum 1956 Exhibited at the National Museum of Art, Washington, DC 1961 “Lava Glazes” by Harding Black, published in October issue of Ceramics Monthly 1964 “Harding Black Texas Potter” by Jean R Lange, published in November issue of Ceramics Monthly 1971 The Meyer Family Master Potters of Texas, co-authored by Harding Black and Georgeanna H Greet 1980 Harding Black’s biographical information entered into the archives of the Smithsonian Institution, Washington, D C 1983 Harding Black traveled throughout China 1984 Awarded Glaze Research Grant by Southwest Craft Center, San Antonio 1985 Solo exhibition at the Southwest Crafts Center 1987 Selected as Artist of the Year by the San Antonio Art League 1988 Incarnate Word College, San Antonio, establishes Harding Black Fund to aid ceramics students 1990 “Harding Black Pottery...

Original title: Edipo Re. Translation by Manara Valgimigli. Original Etchings by Manzù. "King Oedipus" is one of the most famous and beautiful tragedies of Sophocles; translated by ...

Georges Braque (French, 1882-1963) Antiboree Gold and Enamel Brooch, 1963 18k gold textured brooch designed by Georges Braque, a rare 18ct gold textured brooch from 1963, a bird flyi...

Pablo Picasso (1881-1973) - Homme couché et femme assise Lithograph from 1967. The edition of 29/500 on Auvergne Richard de Bas paper. With two watermarks - one of the paper, seco...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Edition of 615 copies. Copy on velin blanc. Lightly damaged on cover and binding replaced with a protection. 

fun with Color Theory As seen at Art on Paper 2024 at The Mannix Project East Hampton NY 12"x12" (14"x14" framed) each These come in a white frame. Acrylic on Paper Artist Statement...

Zao Wou-Ki (1921-2013) - Hommage à San Lazzaro Lithograph from 1975. Edition 371/575 (Photocopy of the colophone is included). Dimensions of work: 31 x 24 cm. Each copy of this l...

Marc Chagall (1887-1985) - Le lion et le moucheron Etching from 1954. Edition of 100. Enhanced with watercolour by the artist. Dimensions of work: 39 x 30 cm. Reference: Cramer ...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Marc Chagall (1887-1985) - Le cirque Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

This Setof Autographs by Fausto Pirandello is addressed to the Countess Pecci-Blunt and to Silvio Perina, Written in Italian, from 1938 to 1957, is composed of 9 items, perfectly r...

Pablo Picasso (1881-1973) - Femme nue Lithograph, pochoir from 1962. An unnumbered copy from a limited edition of 262. Dimensions of work: 48.5 x 36 cm Publisher: Leda, Éditions ...

Marc Chagall (1887-1985) - The Juggler Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

A great New york City street scene in a modernist realist style. done in the the great depression period. Mat is 17.5x14, sheet measures 13x10 image is 10x4.75 Joseph Solman (Janua...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Striking a balance between whimsy and wonder, “Elevated” by He...

Natasha Zupan's body of work, 'Homage to Horst P. Horst', explores the manipulation of surface texture, light, and the interweaving of time. She has incorporated found images in book...