César Baldaccini

César - Centaur - Picasso's Homage - Original Signed Etching

1985

Wassily Kandinsky - Horse Knight - Original Etching 32 x 24 cm 1966 From the art review XXe siècle, San Lazzaro Unsigned and unumbered as issued

Salvador Dali - Corrida - Vintage Poster with Etching Etching made behind a menu in Restautant Duran as a tribute dinner to Salvador Dali and his wife Ga...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. 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...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. 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...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. 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...

SALVADOR DALI The Oak and the Reed (La chêne et le roseau) from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 Conditions: A small tear defect has been restaured...

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

"Vachere au Bord de L'Eau" is an original etching and aquatint by Camille Pissarro, the 8th state. It can be found in the catalogue raisonne Delteil #93. It features a woman sitting ...

This artwork titled "Black Geese" 1934 is an original color aquatint by noted British artist Winifred Marie Louise Austen, 1876-1964. It is hand signed and titled in pencil by the artist. The image (plate mark) is 9 x 13.75 inches, sheet size is 10.30 x 16.5 inches. Published by Arthur Greatorax LTD, Grafton street, London. It is in excellent condition. About the artist: Born at Ramsgate, Kent on 12 July 1876, Winifred Austen only daughter of Josiah Austin, a Cornish naval surgeon, and his wife Fanny, née Mann. She amended the spelling of her surname from Austin to Austen from the time that she began to exhibit. In 1892 the family moved to Hornsey, London from where Austin attended the London County Council School of Arts and Crafts, studying under Cuthbert Swan, an animal painter. I n 1899 Austen exhibited a picture of a lion at the Royal Academy and in all exhibited more than seventy pictures at the Academy, the last in 1961. She worked in both oils and watercolor but Austen is most highly regarded as an etcher. In all she made some two hundred etched plates, beginning in 1906 with a series entitled The White Heron. She had particular feeling for birds and small mammals, and the naturalist Sir Peter...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

"Walking Tiger" Antoine Louis-Barye Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Tig...

"Walking Lion" Antoine Louis-Barye (France, 1775-1895) Antique Engraving by Firmin Gillot Circa. 1870 11 1/3 x 7 3/4 (21 3/8 x 17 1/2 frame) inches This is "Walking Lion," along with "Walking Tiger...