Vertical Figurative Prints

At theatre is a modern artwork realized in the mid-20th century. Mixed colored lithograph after H. de Toulouse-Lautrec. The artwork is a reproduction of the original artwork realiz...

Chocolat Dancing in the Achille Bar is a modern artwork realized in the mid-20th century. Mixed colored lithograph after H. de Toulouse-Lautrec. Original title: Chocolat dansant da...

Camille Billops, 'Mondo Negro III', color etching, 2000, edition 20. Signed, dated, titled, and numbered '7/20' in pencil. A superb, richly-inked impre...

Man Ray (Emmanuel Radnitsky, aka) Surrealist Figure, 1969 Handsigned original etching Also printed signature in the plate On vellum, 23 x 17 cm (c. 9 x 6,6 inch) Numbered /50 copie...

Lithograph on vélin d’Arches paper. Signed in the plate, as issued. Good condition. Notes: From the folio, La mélodie acide, 14 lithographies originales de Joan Miró, 1980. Published...

This serigraph was created by contemporary American artist Hunt Slonem. He is best known for his Neo-Expressionist paintings and bright tropical palette, and his subject matter often...

The weightless Room (2006). Offset print by Aya Takano Offset print, numbered and signed by the artist Image: 30 × 20 in 76.2 × 50.8 cm Sheet: 30 × 20 in 76.2 × 50.8 cm Edition 15...

ARTIST: Salvador Dali TITLE: Fashion Designer MEDIUM: Lithograph SIGNED: Hand Signed PUBLISHER: Levine & Levine for DALART EDITION NUMBER: I 234/250 MEASUREMENTS: 21" x 29" ...

The Christ was a recurring image in Salvador Aulestia's artistic path. This is a particular two color litograph in a vertical format that was attached to a bigger red cardboard to fi...

"PLACEBO.5" Portrait Pop Art Plexiglass Print 39' x 28' inch by Edyta Grzyb Fine art pigment print on Hahnemühle, 300 g under acrylic glass 2025 Edition of 50 Each print is signed o...

The hand tool is undoubtedly Jim Dine’s most iconic motif. Meticulously catalogued in rows like scientific specimens or sketched individually, hammers, awls, brushes, saws and screwd...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Fritz Scholder (American, 1937-2005) 'Mask of the artist', 1982 Engraving, aquatint and resin 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-005 Unframed

La Fille de Minos (The Daughter of Minos)  is a woodcut print on Arches Paper realized in 1978 to illustrated "L'Art d'Aimer" (The Art of Love) by Ovid. Hand signed and numbered in ...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Auguste RODIN (after) Lovers, 1897 Etching enhanced with watercolor On vellum 42.5 x 31 cm (c. 16.7 x 12.2 inches) Edition limited to 125 copies, send with the certificate of authen...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Bernard Brussel-Smith, 'Sailor and His Girl', wood engraving, 1941, edition 35. Signed, titled, and numbered '21/35' in pencil. Signed in the block, lower right. A superb, richly-in...

Kumasaka Chōhan to Ushiwakamaru is a Japanese Ukiyo-e print created between 1848 and 1854 by artist Utagawa Kunisada (Japanese, 1786-1864). The print is a Diptych, and is part of the...

Marc Chagall (1887-1985) - Flowers in the Hand Original Lithograph from 1957. Dimensions of work: 23 x 20 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition...

Rhythmic serenity emanates from this delightful work. Miro creates a quirky yet sophisticated pattern of decorative and playful spots, irregular yet rep...

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Souvenir d'Italie is a black and White etching realized by Camille Corot in the 1860s.  Titled in the lower Image Size: 32x23 Very good impression. Realized for the "Société des ...

Marc CHAGALL Memory of the Natal Land Original stone lithograph On paper 31 x 24 cm (c. 12 x 10 inch) Edited by Teriade, 1969 REFERENCES : Catalog raisonne Mourlot #572 Excellent ...

These beautiful and colorful lithographic posters were hand reproduced by the Mourlot Studio's Master Printer Henri Deschamps in 1969. They are not to be mistaken with later cheap di...

Medium: Intaglio and Chine Colle Year: 2024 Image Size: 12 x 9 inches Edition of 15 Signed, titled and numbered by the artist. A young Japanese woman contemplating her image in a mi...

Jose Sacal (Mexico, 1944-2018) 'Maternidad', 2002 mezzotint on paper 22.1 x 18.4 in. (56 x 46.5 cm.) Edition of 25 ID: SAC-101 Hand-signed by author

Georgi Daskaloff (Bulgarian b. 1923), "Untitled" 45/100, Abstract Lithograph numbered and signed in pencil, 30 x 22.25, Late 20th Century Colors: Blue, White, Black

Composition with Monkeys is an original artwork realized by Thomas Landseer (1795-1880) in the middle of the 19th century. Original etching. Good condition. Draughtsman and printmaker, chiefly of animal and satirical subjects. Eldest son of the engraver John George Landseer. Studied with his brothers Charles and Edwin under Benjamin Robert Haydon, alongside Thomas Bewick...

'Indiani in viaggio' / 'Diligenza Messicana' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Giuseppe Antonelli, published in Venice,...

Medium: Lithograph on vélin d'Arches Arjomari paper Year: 1965 Paper Size: 11.81 x 9.45 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Lettre à mon pei...

José Hernández Muñoz (Spain, 1944) 'Bestiario IV', 1986 Etching and aquatint on paper Image size: 7.08 x 4.92 in (18 x 12.5 cm.) Sheet size: 14.96 x 11.22 in. (38 x 28.5 cm.) series number: 5/25 ID: HER1076-060 Hand-signed in pencil, COA (Certificate of Authenticity) issued by gallery. Pristine condition, unframed. Artist biography The painter JOSÉ HERNÁNDEZ was born in Tangiers in January 1944. He alternates his studies between the Spanish Institute and the French School in Tangiers. He becomes interested in mathematics and competitive sport. He enjoys long distance running and draws relentlessly. After a fruitful period in which he draws and paints from life, he becomes interested in experimenting with different painting materials, which leads him to a wider knowledge of a number of different oil and watercolour techniques. He exhibits his first works at the Librairie des Colonnes in Tangiers in 1962, and receives support from friends, artists and writers who encourage him to explore new fields in the arts. In 1964 he settles in Madrid, where he currently works and resides. It is in Madrid that he presents his first solo exhibition in 1966 at Galería Edurne. Since then numerous exhibitions both within and outside of Spain have taken place. In 1967 he publishes his first etchings and lithographs. His work as an engraver, which complements his painting and leads him to produce many bibliophilic books in collaboration with writers and poets, contemporaries and classics. Since 1971 he has also completed a considerable number of projects as an illustrator of widely distributed books. Since 1974 he has collaborated in a number of theatrical projects as a stage and costume designer for both classic and contemporary plays. At present, he is a voted-in member of the Real Academia de Bellas Artes de San Fernando in Madrid, he has been awarded the Honorary Medal of the Real Academia de Bellas Artes de Santa Isabel de Hungría in Seville, and is a member of the European Academy of Sciences, Fine Arts and Literature in Paris. Individual shows 1962 Tánger, Marruecos. Librairie des Colonnes. 1966 Madrid. Galería Edurne. 1967 Madrid. Galería Seiquer. 1969 Madrid. Galería Iolas-Velasco. 1970 Chicago, Illinois, USA. Deson-Zaks Gallery. 1971 Madrid. Galería Iolas-Velasco. 1973 Palma de Mallorca. Sala Pelaires. La Laguna, Tenerife. Sala Conca. Madrid. Galería Iolas-Velasco. 1974 Pamplona. Caja de Ahorros de Navarra. 1975 Barcelona. Galería Ciento. Valencia. Galería Val i 3O. Alicante. Galería Italia. Madrid. Grupo Quince. Castellón. Galería Canem. 1976 Valladolid. Galería Carmen Durango. 1977 París, Francia. Galerie Octave Negru. Burgos. Galería Mainel. 1978 Madrid. Galería Biosca. 1979 Córdoba. Galería Juan de Mena. Málaga. Colectivo PALMO. París, Francia. Galerie Negru, FIAC. 1980 Bruselas, Bélgica. Galerie Isy Brachot. Madrid. Galería Tórculo. 1981 La Laguna, Tenerife. Sala Conca. París, Francia. Galerie Octave Negru. Munich, Alemania. Galerie Godula Buchholz. Granada, Galería Laguada. 1982 Madrid. Museo Español de Arte Contemporáneo. 1983 Lódz, Polonia. Biuro Wystaw Artystycznych, Galeria Balucka. Leganés, Madrid. Sala Municipal de Exposiciones. Alicante. Galería Italia. Cali, Colombia. Museo de Arte Moderno La Tertulia. 1984 Madrid. Galería Biosca, ARCO. Madrid. Galería Biosca. New Haven, Conn. USA. Yale University. Tokio, Japón. Art Front Gallery. Fredrikstad, Noruega. Galleri Gamlebyen. 1985 Bilbao. Museo de Bellas Artes. La Laguna, Tenerife. Sala Conca. Varna, Bulgaria. Museo de la Historia y de las Artes. Playa del Inglés, Gran Canaria. Galería Radach Novaro. 1986 Alcalá de Henares, Madrid. Capilla del Oidor. Oviedo. Museo de Bellas Artes de Asturias. Vitoria. Museo de Bellas Artes de Alava. Zaragoza. Palacio de la Lonja. Talence, Francia. Château Margaut. Las Palmas de Gran Canaria. Salas Vegueta y Balos. Albacete. Museo de Albacete. Madrid. Palacio de Velázquez de El Retiro. 1987 Granada. Hospital Real. Leganés, Madrid. Sala Municipal de Exposiciones. 1988 Bremen, Alemania. Werkstatt El Patio Galerie. 1989 París, Francia. Galería Tórculo, SAGA. Madrid. Galería Biosca. Madrid. Galería Tórculo. 1990 Madrid. Galería Tórculo, ARCO. Sabiñánigo, Huesca. Museo del Dibujo Castillo de Larrés. 1991 Hamburgo, Alemania. Galerie Levy. Burgos. Casa del Cordón. 1992 Vitoria. Sala San Prudencio. Alcoy, Alicante. Centre Cultural D'Alcoi. Murcia. Centro de Arte Palacio Almudí. Basilea, Suiza. Galería Levy, ART BASEL 92. Madrid. Colegio Oficial de Médicos. 1993 Barbizon, Francia. Galerie Triade. 1994 París, Francia. Galerie Michèle Broutta. La Coruña. Fundación Caixa Galicia. Santiago de Compostela, La Coruña. Fundación Caixa Galicia. Nueva York, USA. The Godwin-Ternbach Museum. Córdoba. Galería de Arte La Caja. 1995 Madrid. Galería Levy. Granada. Palacio de la Madraza. Alicante. Galería Italia. Hamburgo, Alemania. Galerie Levy. Madrid. Instituto de Cultura de México. 1996 París, Francia. Galerie Michèle Broutta. Marsella, Francia. Galerie L'Echoppe. Badajoz. Galería Ceberino Franco. Toledo. Galería Tolmo. 1997 Madrid. Centro Cultural del Conde Duque, Sala de Bóvedas. Marbella, Málaga. Museo del Grabado Español Contemporáneo. Tánger, Marruecos. Instituto Cervantes. Navacerrada, Madrid. Galería Nolde. Rabat, Marruecos. Instituto Cervantes. Casablanca, Marruecos. Instituto Cervantes. Zaragoza. Sala Luzán CAI. Tetuán, Marruecos. Instituto Cervantes. 1998 Lisboa, Portugal. Instituto Cervantes. Munich, Alemania. Instituto Cervantes. Santiago de Compostela, La Coruña. Fundación Eugenio Granell. Varsovia, Polonia. Instituto Cervantes. Nagoya, Japón. Artgraph Gallery. Tokio, Japón. Han Garo Gallery. Bilbao. Galería Juan Manuel Lumbreras. Cádiz. Galería Benot. 1999 Santa Cruz de Tenerife. Centro de Arte La Recova. Barcelona. Galería 3 Punts. Bad Frankenhausen, Alemania. Panorama Museum. La Coruña. Museo Unión Fenosa. Cuenca. Galería La Escalera. León. Sala de exposiciones Junta de Castilla y León. 2000 Dublín, Irlanda. Graphic Studio Gallery. Madrid, Galería Leandro Navarro. Amman, Jordania. Instituto Cervantes. 2001 Santa Cruz de Tenerife, Galería Mácula. Madrid, Galería Estiarte. Alicante, Galería Italia. 2002 Logroño, Galería Pedro Torres. Akita, Japón. Gallery Mini-Exhibition. Rincón de la Victoria, Málaga. Casa Fuerte Bezmiliana. Londres, Gran Bretaña. Instituto Cervantes. 2003 Manchester, Gran Bretaña. Instituto Cervantes. Barcelona, Galería 3 Punts. Málaga, Salas de Exposiciones del Palacio Episcopal. Issoudin, Francia. Musée de L’Hospice Saint Roch. Venecia, Italia. Galleria Del Leone. Valdepeñas, Museo Gregorio Prieto. Paris, Francia. Galerie Michèle Broutta Lyon, Francia. Instituto Cervantes. 2004 Almansa, Albacete, Alzira, Ibi, Villena, Requena, Exposición Itinerante Girarte. Betanzos, A Coruña. Centro Internacional de Estampa Contemporánea. 2006 Málaga, Sala de Exposiciones Edificio Rectorado. Universidad de Málaga. Madrid, Galería Leandro Navarro. 2007 Pinto, Madrid. Centro Infanta Cristina. Madrid, Galería Tibeca. Zaragoza, Museo Provincial Fuendetodos, Zaragoza. Sala Ignacio Zuloaga. Pamplona, Galería Fermín Echauri. 2008 Galería Michele Broutta, París. Galería 3punts, Barcelona. Francia, Bienal Cercle St. Leonard de Noblat. Madrid, Real Casa de la Moneda. 2009 Espacio Nolde, Navacerrada, Madrid. Group shows 1962 Tánger, Marruecos. Casino. 1965 Madrid. Galería Edurne, "Dibujantes Españoles siglos XVIII, XIX y XX". Fuenterrabía, Guipúzcua. Castillo de Carlos V, "Arte Actual". 1967 Barcelona. "I Bienal Internacional de Pintura". 1968 Barcelona. "MAN-68". 1970 La Habana, Cuba. Galería La Habana, "Dibujantes Europeos". Madrid. Galería Seiquer. 1971 Panamá, Panamá. La Paz, Bolivia. Santiago de Chile, Chile. Buenos Aires, Argentina. "Arte de España sobre papel". Sevilla. Museo de Arte Contemporáneo, "Gráfica Española Actual". Baracaldo, Vizcaya. "I Muestra de Artes Plásticas". Pamplona. "Muestra de Arte Contemporáneo". Palma de Mallorca. Sala Pelaires, "Picasso-90". Madrid. Galería Vandrés, "Eros en el Arte Español Contemporáneo". 1972 Santa Cruz de Tenerife. Colegio Oficial de Arquitectos,"Homenaje a J.L. Sert". Santillana del Mar, Cantabria.Torre del Merino. París, Francia. Palais Galliéra, "Biennale de l'Estampe". Ibiza. Museo de Arte Contemporáneo, "Ibizagrafic". Santiago de Chile, Chile. Museo de Arte Contemporáneo Quinta Normal. Madrid. Galería Sen. Exposición homenaje a Manuel Repila 1973 Elche, Alicante. Museo de Elche. "Encuentros". Ljubljana, Yugoslavia. "X Bienal Internacional de Grabado". Tokio, Japón. Museo de Arte Contemporáneo, "Grabado Español Contemporáneo". Madrid. Instituto Alemán, "Grabado Español Contemporáneo". La Laguna, Tenerife. Sala Conca. Palma de Mallorca. Colegio Oficial de Arquitectos,"Miró-80". Baracaldo, Vizcaya. "II Muestra de Artes Plásticas". Madrid. Galería Iolas-Velasco, "Homenaje a Miró". Copenhague, Dinamarca. Kunstforeningen, "Nutidig Spansk Kunst". Madrid. Galería Juana Mordó, "Homenaje a Manolo Millares". Madrid. Galería Internacional. 1974 Cracovia, Polonia. "V Bienal Internacional de Grabado". Barcelona. Colegio Oficial de Aparejadores, "Mostra d'Art Realitat". Rijeka, Yugoslavia. Museo de Arte Moderno, "IV Exposición de Dibujo Original". Segovia. "I Bienal Internacional del Grabado y Arte Seriado". París, Francia. Salon International d'Art Contemporain. Frechen, Alemania. Kunstverein, "III Exposición Internacional de Grabado". 1975 Jyväskylä, Finlandia. "Graphica Creativa". Palma de Mallorca. Sala Pelaires. 1976 Nuremberg, Alemania. "Grafische Minaturen des 20". Tokio, Kyoto, Japón. Museo Nacional de Arte Moderno, "X Bienal Internacional de Grabado". Biella, Italia. "Premio Internazionale per l'incisione". Cracovia, Polonia. "VI Bienal Internacional de Grabado". Venecia, Italia. Bienal Internacional de Arte Contemporáneo "España: Vanguardia Artística y Realidad Social 1936-1976". Frechen, Alemania. "IV Exposición Internacional de Grabado". París, Francia. Galerie Octave Negru. 1977 Leipzig, Alemania. Ausstellung Internationale Buchkunst. Barcelona. Fundación Joan Miró, "España: Vanguardia Artística y Realidad Social 1936-1976". Nueva York, USA. Bronx Museum of Arts. "I New York Drawing Biennial". Barcelona. Fundación Joan Miró, Exposición Museo Internacional Salvador Allende. Madrid. Galería Juana Mordó, "EMISA". 1978 Leverkusen, Alemania. “Volkshochschule, Grafik aus Lädern des Mittelmeeraumes". Sevilla. Escuela Superior de Bellas Artes, "I Exposición de Pintores Andaluces Contemporáneos". Madrid. Galería Ponce, "Gráfica Fantástica". Christchurch, Nueva Zelanda. "Christchurch Festival International of Drawings". 1979 Madrid. Congreso de Andalucía. Nuremberg, Alemania. Kunsthalle, "14 Europäische Künstler zum Thema Menschenbild". Heidelberg, Alemania. "I Biennale der Europäische Künstler Grafik Heidelberg". Lódz, Polonia. "Biennale Malych Formy Grafiki". Bradford, Inglaterra. "British International Print Biennial". Nuremberg, Alemania. Kunsthalle, "I Trienal Internacional de Jóvenes Dibujantes ". Gainesville, Florida, USA University of Florida, "Contemporary Spanish Prints". 1980 Madrid. Galería Biosca, "Pequeño Formato". Madrid. Galería Juana Mordó, "Miscelánea". Columbus, Georgia, USA. Museum of Arts and Sciences,"Contemporary Spanish Prints". Austin, Texas, USA. University of Texas, "Contemporary Spanish Prints". Chattanooga y Knoxville, Tennessee, U.S.A. University of Tennessee, "Contemporary Spanish Prints". Biella, Italia. "Premio Internazionale per l'incisione". Cleveland, Ohio, USA. Institute of Art, " Contemporary Spanish Prints". Minneapolis, Minnesota, USA. University of Minnesota,"Contemporary Spanish Prints". Madrid. Club de Amigos de la Unesco, "Andalucía hoy". Madrid, Librería Fuentetaja, "Técnica de estampación en hueco". Segovia, La Casa del Siglo XV, "Obra Gráfica". 1981 Lincoln, Nebraska, USA. University of Nebraska "Contemporary Spanish Prints". Iowa City, Iowa, USA. University of Iowa, "Contemporary Spanish Prints". Alburquerque, Nuevo Mexico, USA. University of New Mexico,"Contemporary Spanish Prints". Madrid. Galería Biosca. Madrid. Galería Tórculo, "Expo-síntesis". Fontainebleau, Francia. Musée d'Art Figuratif, "L'Art Fantastique Aujourd'hui". Palma de Mallorca. Sala Pelaires, "El Dibuix". Madrid. Escuela Superior de Bellas Artes, "El realismo en la pintura actual española". 1982 Sevilla. Museo de Arte Contemporaneo, "ANDANA 2". Madrid. Centro Cultural de la Villa, "ANDANA 3". Fredrikstad, Noruega. Bienal Internacional de Grabado. 1983 Lódz, Polonia."Biennale Malych Formy Grafiki". Bilbao. Museo de Arte Moderno, "Rompecabezas Andaluz". Madrid. Centro Cultural del Conde Duque, "Muestra Plástica de Artistas sobre la Violencia". Estocolmo, Suecia. Liljevalchs Konstall, "Spansk Egen-Art". Taipei, Taiwan. "Exposición Internacional de Grabado: 1983". 1984 Madrid, Casa de Velázquez. Alcorcón, Madrid. Sala Municipal. "I Muestra de Grabado". Fontainebleau, Francia. "Pensionnaires 1984 Casa de Velázquez" (Invitado de Honor). Oslo, Noruega. Kunstnernes Hus, "Spansk Egen-Art". Cracovia, Polonia. "X Bienal Internacional de Grabado". Berlín, Alemania RDA. "Intergrafik 84". Colmenar Viejo, Madrid. Sala de Arte Picasso, "José Hernández y Gérard Puvis". 1985 Madrid. Expometro, "Arte y Trabajo". Fontainebleau, Francia. Salle des Fêtes du Théatre, "Arlequin aujourd'hui". París, Francia. Galerie Île des Arts, "L'imaginaire". Varna, Bulgaria. "III Biennale de la Gravure". Lódz, Polonia. "Biennale Malych Formy Grafiki". 1986 Madrid. Museo Español de Arte Contemporáneo, "Obra Gráfica de los Premios Nacionales de Artes Plásticas 1980-1985". Cali, Colombia. Museo de Arte Moderno La Tertulia, "Premios Nacionales de España". Angers, Francia. "V Salon d'Automne". Fontainebleau, Francia. Salle des Fêtes du Théatre, "Les Vanités du XVII siècle à nos jours". Sevilla. Museo de Arte Contemporáneo, "I Bienal Iberoamericana de Arte Seriado". Alicante. Fundación Caja del Mediterráneo, "Poemas pintura". (Exposición Itinerante). 1987 Madrid. Palacio de Cristal del Retiro, "Artistas por la Paz". Madrid. Calcografía Nacional, "Diez pintores en Negro". Varna, Bulgaria. "IV Biennale de la Gravure". Lódz, Polonia. "Biennale Malych Formy Grafiki". Biella, Italia. "Premio Internazionale per l'incisione". La Laguna, Tenerife. Sala Conca. Valladolid. Palacio del Marqués de Villena, "Artistas por la Paz". Salamanca. Universidad de Salamanca, "Grabados". 1988 Malbork, Polonia. "XII Miedzynarodowe Biennale Ekslibrisu Wospótczesnego". París, Francia. École Nationale Superieure des Beaux-Arts, Galerie du Palais des Études, "La Gravure Contemporaine à la Chalcographie Nationale de Madrid". Valencia. Galería El Ensanche. Madrid. Instituto Francés, "Le radeau de l'esprit dit non aux fauxmonnayeurs de la mode artistique". 1989 Leipzig, Alemania. "Internationale Buchkunst-Ausstellung Leipzig 1989". Madrid. Galería Levy, "El Arte Surrealista?". Sevilla. Caja de Ahorros de San Fernando "Existencias: 14 Maestros del Realismo". Teruel. Museo Provincial, "En torno a Luis Buñuel /El Collage Surrealista en España". Madrid. Galería Sephira. Madrid. Galería Alfama, "Pintores y Escultores de la Real Academia de Bellas Artes de San Fernando". Talence, Francia. Centre Culturel Medocine, "Arte Español Contemporáneo". 1990 Las Palmas de Gran Canaria. Centro Atlántico de Arte Moderno, "Arte Internacional en las Colecciones Canarias". Madrid. Sala de Exposiciones de la Comunidad de Madrid, "Madrid, El Arte de los 60". Madrid. Galería Sephira, "Cinco Realidades". Madrid. Galería Levy. 1991 Madrid. Galería Levy. París, Francia. Musée Chantillon. Hamburgo, Alemania. Galerie Levy, "Le Chat dans la Peinture". Tokyo, Kyoto, Osaka, Yokohama, Japón. Museo Takashimaya, "Realismos: Arte Contemporáneo Español". Madrid. Galería Heller, "Realismo, Realistas, Realidades, en papel". Huesca. Diputación Provincial de Huesca, "Arte Contemporáneo en la Escuela". Alicante. Galería Italia, "Dibujos y pinturas sobre papel". 1992 Tokyo, Japón. Galería Heller. TOKYO ART EXPO. Sabiñánigo, Huesca. Museo del Dibujo Castillo de Larrés, "Anatomía y Dibujo". Madrid. Galería Levy. Sevilla. Convento de Santa Inés, "XLI Exposición de Otoño". 1993 Madrid. Galería Levy, ARCO. Argentina, Uruguay, Bolivia, Paraguay, Instituto de Cooperación Iberoamericana, "Territorios de Papel". Nueva York, U.S.A. Tamenaga Gallery, "Contemporary Spanish Realism". Madrid. Galería Ra del Rey. 1994 Madrid. Galería Levy, ARCO. Burgos. Casa del Cordón, "Colección Lorenzana". Dublin, Irlanda. Graphic Studio Dublin Gallery, "Contemporary Spanish Prints". Madrid. Galerie Michèle Broutta, ESTAMPA '94. Madrid. Centro Cultural del Conde Duque, "Realismos". Colera, Gerona. Galería d'Art Horizon "Exposició d'Exlibris d'Homenatge a Walter Benjamin". Venecia, Italia. Centro Culturale di Esposizione e Comunicazione,"Du Fantastique au Visionnaire". 1995 París, Francia. Galería Levy, FIAC. Valdepeñas, Ciudad Real. Museo Fundación Gregorio Prieto, "V Certamen Nacional de Dibujo". Marbella, Málaga. Museo del Grabado Español Contemporáneo, "II Premios Nacionales de Grabado 1994". Nueva York, USA. Galería Heller, INTERNATIONAL ART FAIR. Madrid. Galería Levy, ARCO. Madrid. Galerie Michèle Broutta, ESTAMPA '95. La Coruña. "IV Mostra Unión Fenosa". 1996 Madrid. Fundación Cultural Mapfre Vida, "Postrimerías". Marbella, Málaga. Museo del Grabado Español Contemporáneo, "Colección Pangea/95". Madrid. Galerie Michèle Broutta, ESTAMPA '96 . Zaragoza. Palacio de la Lonja y Caja de Ahorros de la Inmaculada,"Después de Goya, una mirada subjetiva". Coulommiers, Francia. Chapelle des Capucins. "Ex-votos". Madrid. Galería Leandro Navarro, "25 Años". 1997 Barcelona. Galería Maragall, "Homenaje a Goya". Madrid. Real Academia de Bellas Artes de San Fernando, "Arte Vivo/Los Pintores de la Academia". Le Bouscat, Francia. Ermitage Compostelle, "L'imaginaire Contemporain". Bilbao. Galería A'G."Realismos". Andorra. Sala de Exposiciones Govern d'Andorra, "Cent Ex-Libris en Homenatge a Walter Benjamin" Barcelona. Palau del Mar, Museo de Historia de Cataluña, "Solidaritat i Art: Milà 1972-Barcelona 1997". Becerril de la Sierra, Madrid. Galerie. "Festival de Grabado Alberto Durero". París, Viaduc des Arts, "Les états de la gravure". Santiago de Compostela, La Coruña. Auditorio de Galicia, "Realidade, Realismos". Ljubljana, Slovenia, "22 international biennial of graphic art". 1998 Kanagawa, Japón, “International Print Triennial ‘98”. Madrid, Museo Postal y Telegráfico, “Ciento y... postalicas a Federico García Lorca (1898-1998)”. Nemours, Francia, “Les Girouettes”. París, Francia, Galerie Alain Daune. “Les peintres du fantastique”. Madrid, M.E.A.C., “Homenaje a Aurelio Biosca”. Oviedo, Galería Dasto. “Libros de Artista”. Madrid, Galería Rayuela. 1999 Biella, Italia, “Premio Internazionale Biella per l’Incisione XIV edizione 1999.” Granada, Hospital Real, “Ciento y... postalicas a Federico García Lorca (1898-1998)”. Huesca, Sala de Exposiciones de la Diputación de Huesca. “Luis Buñuel, el ojo de la libertad.” Madrid, Galerie Michèle Broutta, ESTAMPA '99 . Málaga, Sociedad Económica, “Ciento y... postalicas a Federico García Lorca (1898-1998)” Rincón de la Victoria, Málaga. Casa Fuerte Bezmiliana, “De Picasso a nuestros días”. 2000 Maracaibo, Venezuela. Centro de Arte Lía Bermúdez...

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' c...

"Judy Garland" Legendary Film and Recording Star. Gay Icon. 20th Century Litho Al Hirschfeld (1903-2003) Judy - All Star Variety - Garland at at the Palace Sight: 15 1/2 x 12 inches...

Nelson Mandela, Impressions of Africa (black and white), Signed Limited Edition Lithograph Many people are unaware that Nelson Mandela turned his hand to art in his 80's as a way of ...

Artist proof, printed on contemporary filigree paper, large margins, representing an antique marble vase , whose details are described in the ending note . The piece is dedicated to ...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Eros et Aphrodite is an original lithograph realized after Aubrey Beardsley in 1970. The drawing is part of a 1970 "Eyes Open" edition fo "Les Erotiques de Beardsley". Edition of 499 specimens. Specimen on Japan Mat...

"Sukeroku" by Al Hirschfeld from the "Kabuki Suite," a series of 12 color lithographs on Arches paper capturing Hirschfeld's impressions from a trip to Japan in 1975 of the country's...

Ian Hugo, 'Forest Woman', engraving, 1945, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack E...

MARTA WAKUŁA-MAC: Master of Arts in Fine Art Education- Diploma in Fine Art Printmaking at the Institute of Art, Pedagogical University, Krakow, 2003. Member of Graphic Studio Dubl...

Silkscreen in colors and sepia-tones on Langdell fait à la main paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Bookmarks i...

This original lithograph in colours is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also numbered 14 in pencil from the edition of 24, at the l...

Published Benincasa Carmine. Edizioni SEAT, Torino, Italy. Offset directly from the original plates. Limited edition. This is not hand signed or numbered. Signature in the printing p...

"Thirsty: the appearance of a town geisha in the Ansei era" - Woodblock on Paper From the series "Thirty-two Aspects of Customs and Manners" (Fuzoku sanjuniso) Lively woodblock of a...

FANNY RABEL (1922 – 2008) and ALBERTO BELTRAN (B. 1923 ISRAEL - 2 Conferencias por Vocente Lombardo 1951 (P.134) Linocut in 3...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

Claudine Loquen is a French artist born in 1965 who lives & works in Paris, France. She depicts portraits, especially women faces as Colette for literature. About artwork : numbered...

Alphonse Mucha worked mainly as a poster artist and became an influential figure of Art Nouveau in late 1890s, when poster illustrations were emerging as popular art form and new pri...

Chris Levine Lightness of Being [Freedom Edition], 2021 Diasec-mounted giclée print mounted on aluminium composite panel Artist's digital signature, lower right on recto 90 x 70 cm E...

Actor Iwai Shigaku as Somenoi in "Denka chaya adauchi" (Revenge at the Denka Teahouse), by Shigeharu, Ryusai (also called Kuniyoshi) Tokyo: Horie Ichiba Wataki, 1835. Woodcut on la...

Published by the Royal Academy

Keep 'em Flying Hennies Bros Show original vintage military, carnival, and amusement park poster. Created during World War Two when entertainment and enj...

Pop Art portrait of a young Bob Dylan, a 1967 etching by Marc Foster Grant (American, 20th Century). Signed and dated "Marc Grant '67" lower right. Titled "...

Original Lithograph - Henri Matisse - Portrait of Guillaume Apollinaire From the book by André Rouveyre, "Apollinaire " (Paris: Raisons d'Etre, 1952) Artist : Henri MATISSE 13 x 10 inches Edition: 151/330 References : Duthuit-Matisse Catalogue raisonné 31 MATISSE'S BIOGRAPHY YOUTH AND EARLY EDUCATION Henri Emile Benoît Matisse was born in a tiny, tumbledown weaver's cottage on the rue du Chêne Arnaud in the textile town of Le Cateau-Cambrésis at eight o'clock in the evening on the last night of the year, 31 December 1869 (Le Cateau-Cambrésis is in the extreme north of France near the Belgian border). The house had two rooms, a beaten earth floor and a leaky roof. Matisse said long afterwards that rain fell through a hole above the bed in which he was born. Matisse’s ancestors had lived in the area for centuries before the convulsive social and industrial upheavals of the nineteenth century. Matisse grew up in a world that was still detaching itself from a way of life in some ways unchanged since Roman times. The coming of the railway had put Bohain on the industrial map, but people still traveled everywhere on foot or horseback. Matisse’s father, Émile Hippolyte Matisse, was a grain merchant whose family were weavers. His mother, Anna Heloise Gerard, was a daughter of a long line of well-to-do tanners. Warmhearted, outgoing, capable and energetic, she was small and sturdily built with the fashionable figure of the period: full breasts and hips, narrow waist, neat ankles and elegant small feet. She had fair skin, broad cheekbones and a wide smile. "My mother had a face with generous features," said her son Henri, who always spoke of her with particular tenderness of the sensitivity. Throughout the forty years of her marriage, she provided unwavering, rocklike support to her husband and her sons. Matisse later said: "My mother loved everything I did." He grew up in nearby Bohain-en-Vermandois, an industrial textile center, until the age of ten, when his father sent him to St. Quentin for lycée. Anna Heloise worked hard. She ran the section of her husband's shop that sold housepaints, making up the customers' orders and advising on color schemes. The colors evidently left a lasting impression on Henri. The artist himself later said he got his color sense from his mother, who was herself an accomplished painter on porcelain, a fashionable art form at the time. Henri was the couple’s first son. The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; in particular, he hated the gelid winters. He was a pensive child and by his own account he was a dreamy, frail and not outstandingly bright. In later life he never lost his feeling for his native soil, for seeds and growing things he had encountered in his youth. The fancy pigeons he kept in Nice more than half a century after he left home recalled the weavers' pigeon-lofts tucked away behind even the humblest house in Bohain. Matisse's childhood memories were of a stern upbringing. "Be quick!" "Look out!" "Run along!" "Get cracking!" were the refrains that rang in his ears as a boy. In later years when survival itself depended on habits of thrift and self-denial, the artist prided himself on being a man of the North. When Matisse in turn had children of his own to bring up, he chided himself for any lapse in discipline or open display of tenderness as weakness on his part. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. Although he considered law as tedious, he nonetheless passed the bar in 1888 with distinction and began his practice begrudgingly. Once Matisse finished school, his father, a much more practical man, arranged for his son to obtain a clerking position at a law office. PAINTING: BEGINNINGS Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor. The Dinner Table (1897) was Matisse’s first masterpiece, and he had spent the entire winter working on the oeuvre. Though the Salon displayed the piece, they hung the work in a poor location, disgusted by what they considered its radical, Impressionist aspects. Caroline Joblaud was Matisse's early lover for four years during his initial struggles to affirm his artistic direction and professional career. Caroline (also called Camille) gave Matisse his first daughter Marguerite in 1894, who after Matisse's marriage to Amélie Noellie Parayre was warmly accepted contrary to conventional hostility such arrangements provoked. Caroline posed various times for the artist’s compositions while Marguerite served many times as a model for Matisse throughout his life. MARRIAGE WITH AMÉLIE NOELLIE PARAYRE The Matisses of Bohain and the Parayres of Beauzelle had outwardly nothing in common, and there was no reason why Matisse and Amélie should ever have met. But in October 1897 Matisse went to a wedding in Paris and happened to sit next to her at the uproarious banquet that followed. There had been no banal flirtation between them, even when the wine flowed, each recognized the other as true metal, and when they got up from the table she held out her hand to Henri Matisse in a way that he never forgot. Matisse at that time was not yet the professorial figure of legend. He was known as a prankster, as a ribald and anti-clerical songster, and as someone who had once broken up a café concert performance just for the hell of it. Amélie's relatives operated at that time within a social, intellectual, and political context of which Matisse had had no previous experience. They stood for free thinking, for the separation of church and state, and for the secularization of the French educational system. Her family, better off that that of Matisse, provided the support he needed for the budding artist. When Matisse married Amélie in January 1898, they had been introduced only three months after. Amélie's Aunt Noélie and two of her brothers ran a successful women's shop called the Grande Maison des Modes. Before her marriage, Amélie had shown a gift for designing, making, and modeling hats for a fashionable clientele. In June 1899, she found a partner and opened a shop of her own on the rue de Châteaudun. This allowed Henri and herself to live, with Marguerite, in a tiny two-room apartment on the same street. Madame Matisse, fervently loyal, would play a fundamental role in the life and career of the artist for more than 40 years. Marguerite was to become her father's lifetime mainstay In 1902 disaster struck. Amélie’s parents were disgraced and financially ruined in a spectacular scandal of national scope, as the unsuspecting employees of a woman whose financial empire was based on fraud. Thanks to his early years in a lawyer's office, Matisse was able to busy himself to great effect in the organization of his father-in-law's defense. When all about him lost their heads, burst into tears, and felt more than sorry for themselves, Henri Matisse dealt with their problems one by one. The ordeal had taken its toll, in more than one way. His doctors ordered Matisse to go to Bohain and take two months' complete rest. Amélie had lost both her hat shop and the apartment on the rue de Châteaudun. For the first time, Henri, Amélie and the three children were united in Bohain, having nowhere else to go. Hillary Spurling, one of Matisse’s biographers, asserts that Amélie’s memories of that public disgrace nurtured a “suspicion of the outside world” that would always mark the Matisse family. The Matisse family formed a kind of hermetic unit which revolved around the artist’s work and profession. They fitted their activities according his breaks and work sessions. Silence was essential. Even during the years when Matisse lived mostly alone in Nice, an annual ritual of unpacking, stretching, framing and hanging ended with the whole family settling down to respond to the paintings. The conference might last several days. Then the dealers were admitted. Matisse and his wife had had two sons, Jean (born 1899) and Pierre (born 1900). He was not always in peace with his family. He wrote that their views were not always in accord “which disturbs me considerably in my work, for which I require the most complete calm and from those how surround me, a serenity that I cannot find here. I intend to move to a village a few league away.” Pierre, his brother, Jean, and Marguerite remained close to their father through every vicissitude, and Matisse, in his last invalid years, was devoted to his several grandchildren. In 1899, at a time when his paintings displayed rebellious talent but not much clear direction, Matisse began attending classes in clay modeling and sculpture. Assigned to copy one of the sculptural masterpieces in the Louvre, he selected Jaguar Devouring a Hare a violently precise work by Antoine-Louis Barye. Later, whenever his paintings seemed stuck, he turned to sculpture to organize his thoughts and sensations. Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, "In modern art, it is indubitably to Cézanne that I owe the most." By studying Cézanne’s fragmented planes -- which stretched the idea of the still life to a forced contemplation of color surfaces themselves -- Matisse was able to reconstruct his own philosophy of the still life. Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. After years in poverty, Matisse went through his "dark period" (1902-03), moved briefly to naturalism, went back to a dark palette and told friends in 1903 that he had lost all desire to paint and had almost decided to give up. Fortunately, Matisse was able to earn some money painting a frieze for the World Fair at the Grand Palais in Paris. He also traveled extensively in the early 1900s when tourism was still a new idea. Brought on by railroad, steamships, and other forms of transportation that appeared during the industrial revolution, travel became a popular pursuit. As a cultured tourist, he developed his art with regular doses of travel. FAUVISM Matisse's career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work. In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity . Matisse hit his stride in the avant-garde art world in the first years of the new decade. He explored the modern art scene through frequent visits to galleries such as Durand-Ruel and Vollard, where he was exposed to work by Paul Cézanne, Paul Gauguin, and Vincent van Gogh. Matisse’s first solo exhibition took place in 1904, without much success. In 16 May 1905 he arrived in the charming Catalan port of Collioure, in the south of France. He soon invited the painter André Derain (1880-1954), 11 years his junior, to join him. By 1905, Matisse was considered spearhead the Fauve movement in France, characterized by its spontaneity and roughness of execution as well as use of raw color straight from the palette to the canvas. Matisse combined pointillist color and Cézanne’s way of structuring pictorial space stroke by stroke to develop Fauvism - a way less of seeing the world than of feeling it with one’s eyes. When the Fauve summer drew to an end, Derain left Collioure with 30 paintings, 20 drawings and some 50 sketches, never to return, while Matisse departed some days later bringing back to Paris 15 finished paintings, 40 aquarelles, over 100 drawings. He returned Collioure in the summers of 1906, 1907, 1911 and 1914. The lure of the sun would prove always to have powers of restoration to the artist throughout his life particularly after periods of great emotional exertion. When Fauvist works were first exhibited Salon d'Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse's most important future supporters, reported that people scratched at the canvases in derision. "A pot of paint has been flung in the face of the public" was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves' color "sticks of dynamite." The painting that was singled out for attacks was Matisse's Woman with a Hat, a portrait of Madame Matisse. This picture was bought be was bought by Gertrude and Leo Stein, a fact which had a very positive effect on Matisse who was suffering demoralization from the bad reception of his work. Matisse continued his experiments in Collioure, visible in the painting The Open Window and the View of Collioure , also a characteristic work of Fauvism in its raw color and disregard for details. Both of these works of the landscape in the French Mediterranean present a distinct development towards the spontaneous and uninhibited style. Other than André Derain, Georges Braque, Raoul Dufy and Maurice Vlaminck were also members of the Fauve movement. However, Matisse’s intimate friends among artists were mostly easygoing minor painters, such as Albert Marquet. Matisse’s temperamental aloneness made him prey to vertiginous depressions. He later recalled a breakdown that he underwent in Spain, in 1910: “My bed shook, and from my throat came a little high-pitched cry that I could not stop.” From the onset of is career women were from one of the cardinal motifs of the artist's production. His Joy of Life (1906) draws us into the world of hallucinatory vividness composed of nymphs set in an idyllic open fields dressed in pure color and sensual outline. Two women lounge in the sunlight while two more chat on the edge of the forest. One crouches to pick some flowers while her companion weaves a chain of them into her hair. A couple embraces each other while another group engages in a lively round-dance in the distance. In this way, Joy of Life depicts woodland nymphs engaging in a celebration of their life, their womanhood, and their sexuality. Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means. Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cézanne. FAME The decline of the Fauvist movement, after 1906, did nothing to deter the rise of Matisse. From 1906 -1917 he lived in Paris and established his home, studio, and school at Hôtel Biron. Among his neighbors is sculptor Auguste Rodin, writer Jean Cocteau, and dancer Isadora Duncan. Many of his finest works were created in this period, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in with his conservative appearance and strict bourgeois work habits. In fact, the aim of Matisse’s art was something less than revolutionary. In 1908, in a famous statement drawn from “Notes of a Painter,” Matisse declared as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.” Matisse's personal habits were incredibly regular. On a typical day rose early and worked all morning with a second work session after lunch, followed by violin practice, a simple supper (vegetable soup, two hard-boiled eggs, salad and a glass of wine) and an early bedtime. In 1906, he created a series of 12 lithographs, all variations on the theme of a seated nude. He chose to share his graphic work with the public almost immediately. The lithographs were exhibited at the Druet Gallery in Paris the same year that they were produced, and the woodcuts were shown at the Salon des Independants in the spring of 1907. In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." Notwithstanding newly-won fame, Matisse's work continued to encounter vehement criticism and it was difficult for him to provide for his family. His controversial 1907 painting Blue Nude was burned in effigy at the Armory Show in Chicago in 1913. Contrary to the fate of the Impressionists, Matisse and other Fauves were able to exhibit in art galleries. In 1908 Paul Cassirer, the German art dealer and editor who played a significant role in the promotion of the work the French Impressionists and Post-Impressionists, staged an exhibit of Matisse’s works in Berlin. In the same year the American photographer Alfred Stieglitz in New York organized him one-man show in his tiny Manhattan gallery called 291 which effectively introduced Matisse the powerful American art market. In the first decade of his notoriety as the leader of the Fauves, Matisse was more admired by foreigners than by the French. It was, after all, the Russians and the Americans who acquired significant collections of his early work almost as quickly as it was created. The great Matisses we see in the Paris museums today were mostly acquired after the artist's death in lieu of death duties. It took the French a good deal longer to understand Matisse's greatness-longer, certainly, than the international cadre of aspiring talents that flocked to his classes when he was still one of the most controversial figures in the Paris avant-garde. In the summer of 1907, Matisse and his wife went on a long trip to italy "for work and Pleasure," visiting Venice and Padua, where they admired Giotto's frescos. In Florence the were the guests of the Steins in their villa in Fiesole. From this base matisse visited Arezzo, to study Piero della Francesca, and Siena, attracted by the early Sienese painters, especially, Duccio. PICASSO, GERTRUDE STEIN AND THE CONE SISTERS During the first decade of the 20th century Americans in Paris Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah took keen interest in Matisse's art. In addition, Gertrude Stein's two friends from Baltimore. Clarabel and Etta Cone, became major patrons of Matisse and Picasso, collecting hundreds of their works.The Cone Sisters acquired their first Matisse in 1906 and, during the next four decades, went on to form one of the world's great collections of his art. The Cone Collection not only contains major works from every phase of Matisse's long career but reflects the sisters' special interest in his Nice period, when a new complexity of form and psychology entered the ever intense surface allure of his paintings. In April of 1906 during a gathering at the house of the legendary Gertrude Stein, Matisse was introduced to Pablo Picasso who was 11 years younger. Picasso and Matisse were poles apart aesthetically and their life styles were no less so. Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he." One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors. Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter." Although Matisse dryly noted that "our disputes were always friendly," it should be pointed out that Picasso and his friends threw suction-cupped darts at Matisse's 1906 Portrait of Marguerite (which Picasso had obtained in a trade for his own Pitcher, Bowl and Lemon, from 1907). While the rift between the two artists eventually healed, the one between their supporters remained. ACADEMIE MATISSE IN PARIS & SERGEI SHCHUKIN In 1909, with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. His immense notoriety, which had been confirmed in 1905-06 by Joy of Life, a work which seemed to trash every possible norm of pictorial order and painterly finesse.His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1911 until 1917. Hans Purrmann and Sarah Stein were several of his most loyal students. Although it lasted for only three years (1908-11), and yet, during its brief existence the Académie Matisse became one of the principal crossroads of modern painting for a number of gifted European and American artists. Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative. As Jean Heiberg, the first Norwegian to enroll in the Académie, later wrote in a memoir: "The school had, at Matisse's suggestion, acquired a copy of two antique sculptures from the Louvre, Mars and an archaic sculpture, which he often used to demonstrate. Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable." Among Matisse’s students was Olga Meerson, a Russian Jew who had studied with Wassily Kandinsky in Munich and, already possessed of an elegant style, sought to remake herself under Matisse’s tutelage. Amélie suspected the worst. Perhaps a combination of Amélie’s jealousy and Meerson’s neediness caused a Matisse to end the connection, with bad feeling all around. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in 1929. One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many. Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan Morozov (1871–1921). Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia. In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. The artist created one of his major works La Danse specially for Shchukin as part of a two painting commission. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit. Moreover, Matisse all but abandoned perspective The work ’s flatness emphasizes the idea, colors, and material, a notion that made Matisse a model for Modernists. The other painting commissioned was Music, 1909. Shchukin was considered by some almost as a co-producer of some of the artist’s greatest works and was strongly commuted to the French painter’s work. Concerning the violent attacks on his friend, the Russian wrote to the artist: “The public is against you, but the future is yours.” By 1914 Shchukin’s house in Moscow contained thirty-seven Matisses. “He always picked the best,” the artist said. During the political revolution Lenin expropriated Shchukin collection in person but allowed Shchukin to remain, in servants’ quarters, as caretaker and guide. He died in Paris, in 1936. The collection is now in the Hermitage and Pushkin Museums From about 1911 to 1915, Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature." MOROCCO Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. He is one of the first painters to take an interest in various forms of “primitive” art. His art was profoundly influenced by Easter art as well. Matisse first flirted with the idea of visiting Morocco after a trip to the Moorish part of Spain in the winter of 1910. This taste of the Moors incited a flame of hope that there would be greater inspiration to paint in Morocco. Furthermore, well aware of the exotic subjects in Morocco that had engendered a wealth of inspiration for the famous French painter Delacroix when he visited the country over eighty years before, Matisse felt Morocco would stimulate his painting genius in ways Europe could not. He strove for neither the picturesque nor the pornographic. In Morocco, Matisse seems to have had difficulties finding models who would pose for him, particularly women because of the law of the veil. Only Jewesses and prostitutes were exempt. Luckily, Matisse to have found the prostitute Zorah for the purpose although he did not paint her as a prostitute. Instead, in his first picture of her, Zorah en Jaune, sexual themes are most conspicuously absent from the canvas. As a prostitute used to exposing and flaunting her body, Zorah could have easily been painted nude or with less clothing to show herself off, but instead Matisse chooses to keep her clothed and posed with prudence. Unlike the primitive, nude Western women in the Fauve Joy of Life. Moroccan Zorah is clothed with respect and detail to her finer characteristics. He is developing his ability to paint with awareness of the non-sexual qualities of his subject, a movement away from Fauve women. Many of Matisse's Moroccan paintings are covered only in the thinnest washes of pigment, as if he wanted the texture of the unpainted canvas to show through so that it would add rawness to the browns and grays. Matisse's odalisques have been described as "elaborate fictions" in which the artist re-created the image of the Islamic harem using French models posed in his Nice apartment. The fabrics, screens, carpets, furnishings and costuming recalled the exoticism of the "Orient" and provided a theme for Matisse's preoccupation with the figure and elaborate patterns of exotic fabrics. Although Matisse's interest in textiles are evident in his compositions made during his 1906 trip to Morocco, it didn't begin as a typical European attraction to the exotic. It was already present to him as a descendent of generations of weavers, who was raised among weavers in Bohain-en-Vermandois, which in the 1880's and 90's was a center of production of fancy silks for the Parisian fashion houses. Like virtually all his northern compatriots, he had an inborn appreciation of their texture and design. He understood the properties of weight and hang, he knew how to use pins and paper patterns, and he was supremely confident with scissors. Matisse was known to be an avid collector of fabrics, from his days as a poor art student in Paris to the latter years of his life, when his Nice studio overflowed with Persian carpets, delicate Arab embroideries, richly hued African wall hangings, and any number of colorful cushions, curtains, costumes, patterned screens, and backcloths. Textiles soon became the springboard for his radical experiments with perspective and an art based on decorative patterning and pure harmonies of color and line. When he moved house, he also moved his fabrics, describing them as "my working library." He added to the collection all his life, from markets in Algeria, Morocco and Tahiti to the end-of-season sales of Parisian haute couture. The revitalizing spirit of Morocco would live on in the artist's imagination until the cutouts of the artist's last years. AFTER PARIS Matisse continued to evolve in unexpected directions even though never became an abstract painter (though some of his most adventurous works, such as the View of Notre Dame of 1914 or the Yellow Curtain of 1916 come close). His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal. Matisse moved to Nice in 1917 to distance himself from wartime activity, where bright, warm colors showed him "simpler venues which won’t stifle the spirit." His spirit became loyal to the "silver clarity of light" in Nice, and he returned to Paris only for a few months each summer. The years 1917–30 are known as his early Nice period, when his principal subject remained the female figure or an odalisque dressed in oriental costume or in various stages of undress, depicted as standing, seated, or reclining in a luxurious, exotic interior of Matisse's own creation. These paintings are infused with southern light, bright colors, and a profusion of decorative patterns. They emanate the atmosphere suggestive of a harem. In 1929, Matisse temporarily suspended easel painting and traveled to America to sit on the jury of the 29th Carnegie International and, in 1930, spent some time in Tahiti and New York as well as Baltimore, Maryland and Merion, Pennsylvania.He was especially thrilled with New York. An important collector of modern art, and owner of the largest Matisse holdings in America, Dr. Albert Barnes of Merion, commissioned the artist to paint a large mural for the two-story picture gallery of his mansion. Matisse chose the subject of the dance, a theme that had preoccupied him since his early Fauve masterpiece Joy of Life. Americans were prominent among Matisse's patrons throughout his career, beginning with the Steins (Leo Stein bought Joy of Life right out of the Salon in 1906) and including the Cone sisters of Baltimore and the notoriously cantankerous Barnes. The foundational Matisse monograph was written during his lifetime by another American, Alfred Barr. Also important in promoting Matisse's presence before the transatlantic public was the Manhattan gallery founded in 1931 by the artist's son, Pierre, who remained a prominent figure in the New York art world for almost six decades. In addition to his father, he represented Balthus, Calder, Dubuffet, Giacometti, Miro, Tanguy and others, many of them also friends. Throughout his long and productive career, Matisse periodically refreshed his creative energies by turning from painting to drawing, sculpture and other forms of artistic expression. In his lifetime he also produced 12 illustrated books which were known as “livre d’artiste” (artist’s book), a specific type of illustrated book that became common in France around the turn of the century. These books were deluxe, limited editions, meant to be collected and admired as works of art, as well as, read. This process began when Swiss publisher Albert Skira first approached the modern master in 1930 to illustrate the work, Poesies, by 19th century French symbolist poet Stéphane Mallarmé . Matisse responded to Skira’s invitation with great enthusiasm and that summer, devoted most of his attention to the commission while he was residing in Paris. The result was a collection of 29 beautiful etchings, of which the Museum will display 16. The subject matter, like the poems themselves, varies considerably, although many of the images reflect the artist’s vacation to the South Pacific. Matisse’s etchings of Mallarmé’s poems are considered among his greatest works in the print medium. In 1941, again for Skira, Matisse began one of his most complicated and successful printmaking projects, Florilege des Amours de Ronsard, illustrating the love poems of 16th century French Renaissance poet Pierre de Ronsard. Ronsard’s subject and strong imagery lent themselves gracefully to Matisse’s favored themes of fruits, flowers, the female form and portraits. The artist selected the poems himself and translated the work from Renaissance French to contemporary French for the publication of the anthology DIVORCE & LATE FAMILY RELATIONSHIPS For all his long-lasting friendships with other artists, famous and obscure, Matisse's days and nights were absorbed by solitary labor. Playing the violin seemed a more intimate consolation for decades of critical abuse than the affections of his wife and children. Although their marriage was still somewhat fragile, the Matisses had decided to stay on in Nice when their lease expired at Place Charles-Félix in the summer of 1938. Matisse and his wife were separated in 1939 after 41 years when Amélie tried to dismiss the coolly efficient young Lydia Delectorskaya, an orphan refugee from Siberia, who had been hired as Amélie’s companion. However, the Matisses’ marriage ran afoul not of any romantic rival but for the artist’s wish to stand on his own. The first climax came years before in 1913, when Amélie sat more than a hundred times for the Portrait of Madame Matisse. A friend’s diary reported at the time. “Crazy! weeping! By night he recites the Lord’s Prayer! By day he quarrels with his wife!” The portrait, which was the last work to enter Shchukin’s collection, caused Matisse “palpitations, high blood pressure and a constant drumming in his ears.” Such frenzy was not rare when Matisse had difficulty with a painting. He referred to the painting years later in a letter to her as “the one that made you cry, but in which you look so pretty.” Amélie ceded routine leadership of the family to Marguerite. The 1913 portrait was his last painting of her. Matisse and his wife met the last time to discuss details of their legal separation, in July 1939. One of its key provisions was that everything would be divided equally between the couple. The meeting took place in Paris at the Gare St. Lazare and lasted thirty minutes, during which Amélie Matisse kept up a flow of small talk while her husband."My wife never looked at me, but I didn't take my eyes off her...," Matisse wrote on the night of that final encounter: "I couldn't get a word out.... I remained as if carved out of wood, swearing never to be caught that way again." "I'm going to try to isolate myself as if I were still absent,'' Matisse announced on his first return to Paris since the official separation from his wife, 'rarely leaving his apartment except for visits to the cinema (his first color film, starring Danny Kaye...

Vanity Fair legal portrait of William Otto Adolph Julius Danckwerts. 380mm by 260mm (sheet)

Artist: Norman Rockwell, American (1894 - 1978) Title: The Four Seasons: SPRING, SUMMER, AUTUMN, WINTER Medium: Lithograph on Arches paper, 100% acid free Paper Size: 20.5 x 19.25 in...

Dans les Cendres (In the embers). 1887. Delteil catalog 67 state iii. State after the plate was cut down and a second figure eliminated (the two earlier states are of the greatest rarity). Etching, drypoint and roulette. 16 3/4 x 12 1/8 (sheet 19 1/2 x 14). Edition 50. Illustrated: Print Collector's Quarterly 9 (1921): 254. A very rich impression with plate tone and drypoint burr, printed on simili-japon. Provenance: Frederick Keppel & Co. This is one of the artist's most striking images. Signed in pencil. Housed in 25 x 20-inch archival mat, suitable for framing. Paul Albert Besnard, was an impressionist painter. In 1866, the seventeen-year-old son of artist parents began his studies at the École des Beaux-Arts Paris. In 1874, Besnard won the important Prix de Rome, with which the academy distinguished young talent. A portion of the scholarship is a stay of several years in Rome. Besnard married Charlotte Dubray, a sculptress, during this time in Rome. The couple lived in England, where Besnard exhibited at the Royal Academy London, between 1881 and 1884. He became involved with English portrait painting during this period, which had a lasting influence on his work. In the years that followed, Besnard broke with the academic tradition. In 1886, he presented the portrait of Madame Roger Jourdain...

Artist: (after) Keith Haring (American, 1958-1990) Title: "Best Buddies" *Issued unsigned, though signed and dated by Haring in the plate (printed signature) center right Year: 1989 ...