Gian Paolo Berto

The Cat - Original Etching by Gian Paolo Berto - 1970s

1970s

Cat is a splendid print in etching technique engraved by the Giampaolo Berto. The state of preservation of the artwork is excellent. Sheet Dimension: 35 x 25 cm Not signed.

The Cat is an Original etching print on paper realized by Giselle Halff in 1950 ca. Good conditions with some foxing. .

The Cat is an Original etching and drypoint print on paper realized by an Anonymous artist in 1950 ca. Good conditions with some foxing.

The Cat is an etching on paper realized by  Gian Paolo Berto. Good conditions. Numbered, Edition 40 of prints. The artwork represents a cat through perfect hatching. The artwork i...

Johnny FRIEDLAENDER (1912 - 1992) Cats Original handsigned etching On vellum BFK Rives 50 x 33 cm (c. 19.6 x 13 inch) Excellent condition, the sheet is slightly yellowed

Fine print by this important American printmaker and educator. Limited 50 impressions. Signed and dated in pencil. Unframed.

Leonard Tsuguharu FOUJITA Cat, 1927 Original woodcut Handsigned with ink Numbered /160 Bears the blind stamp of the editor (Lugt 1140a) On Vellum 32.5 x 25.5 cm (c. 13 x 10 inch) R...

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...