Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 3

Léopold Survage
Le Cheval (The Horse) — Mid-Century Cubism

1953

About the Item

Léopold Survage, 'Le Cheval' (The Horse), color etching, edition 60, 1953. Signed and numbered '46/60' in pencil. Initialed in the plate, lower right. A superb, richly-inked impression, on cream BFK Rives, wove paper; the full sheet with wide margins (3 1/2 to 7 1/4 inches), in excellent condition. Published by Editions Empreinte, France, with the publisher’s blind stamp in the bottom left sheet corner. Image size 7 5/8 x 5 1/2 inches; sheet size 19 5/8 x 12 5/8 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Léopold Frédéric Léopoldowitsch Survage (1879 -1968) was a French painter, designer, and graphic artist of Finnish descent. From a young age, Survage was expected to enter the piano factory operated by his Finnish father but after a severe illness at the age of 22, he rethought his career and entered the Moscow School of Painting, Sculpture and Architecture. Introduced to the modernist art movements he was drawn to the Russian avant-garde and, by 1906, was loosely affiliated with the circle of the magazine ‘Zolotoye runo’ (Golden fleece). He met Alexander Archipenko, exhibiting with him in the company of David Burlyuk, Vladimir Burlyuk, Mikhail Larionov, and Natalia Goncharova. He traveled to Western Europe With Hélène Moniuschko, who later became his wife, visiting Paris in July 1908. The couple eventually settled in Paris where Survage worked as a piano tuner and briefly attended the short-lived school run by Henri Matisse. He exhibited with the ‘Jack of Diamonds’ group in Moscow in 1910 and first showed his work in France (at the urging of Archipenko) in the Salon d'Automne of 1911. In 1913, Survage created abstract compositions using color and movement with the intention of evoking a musical resonance. Entitled Rythmes colorés, he planned to animate these illustrations in film to produce "symphonies en couleur". He visualized these abstract images as flowing integrations but he exhibited the ink wash drawings as individual works at the Salon d'Automne in 1913 and Salon des Indépendants in 1914. Articles on these works were published by Guillaume Apollinaire (Paris-J., July 1914) and Survage himself (Soirées Paris, July–August 1914). In June 1914, in order to develop his idea, Survage unsuccessfully applied for a patent to the Gaumont Film Company. Had he been able to raise the funds, he would have preceded Viking Eggeling and Hans Richter as the first artist to develop abstract films. Beginning in 1917, Survage shared a studio with Amedeo Modigliani in Paris. He later moved to Nice and, over the next eight years, produced highly structured oils and works on paper linked by a series of leitmotifs, repeating groups of symbolic elements—man, sea, building, flower, window, curtain, bird—as if they were protagonists in a series of moving images. By 1922, Survage had begun to move away from Cubism in favor of neo-classical forms. He received commissions for Serge Diaghilev's Ballets Russes, beginning with sets and costumes for Igor Stravinsky's opera buffa Mavra at the Paris Opéra in 1922. Although mainly a painter, he also produced stage, tapestry, and textile designs during this period (notably for the house of Chanel in 1933). Toward the end of the 1930s, Survage became increasingly concerned with incorporating mystical symbolism in his work. With this esoteric focus, the curvilinear forms that had dominated his compositions returned to the geometric structure and Cubist vernacular that had informed his earlier works. In 1963 Survage was named Officer of the Légion d'Honneur, France's highest distinction which is awarded in recognition of either military or civilian merit. Survage’s innovative works are held in museums worldwide including the Art Institute of Chicago, Hermitage Museum (St. Petersburg), Museum of Modern Art (New York), the National Gallery of Art (Washington, D.C.), and the Centre Georges Pompidou (Paris).
  • Creator:
    Léopold Survage (1879-1968)
  • Creation Year:
    1953
  • Dimensions:
    Height: 7.63 in (19.39 cm)Diameter: 5.5 in (13.97 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Myrtle Beach, SC
  • Reference Number:
    Seller: 1032361stDibs: LU53237692802
More From This SellerView All
  • War Casualty — American Surrealism, Spanish Civil War, Anti-Fascism
    By Leon Bibel
    Located in Myrtle Beach, SC
    Leon Bibel, 'War Casualty', etching, 1937, edition 6. Signed, dated, titled, and numbered '5/6' in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (1/2 to 1 7/8 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 7 3/8 x 9 7/8 inches (187 x 251 mm); sheet size 10 5/8 x 11 3/8 inches (270 x 289 mm). Archivally matted to museum standards, unframed. Created at the time of the Spanish Civil War and the rise of Hitler in Germany, this work stands as one of the most powerful surrealist/modernist anti-war images of the Work Progress Administration (WPA) period. ABOUT THE ARTIST Painter, printmaker, and sculptor, Leon Bibel, was born in Poland in 1913 but moved with his family to San Francisco as a child. He trained at the California School of Fine Arts and received a scholarship to study under the German Impressionist Maria Riedelstein. He worked in collaboration with Bernard Zackheim, a student of Diego Rivera, to create frescoes for the San Francisco Jewish Community Center and the University of California Medical School. In 1936 Bibel moved from California to join the Federal Art Project of the New York City WPA. He was assigned to the Graphic Art Project and the Easel Project at Harlem Art...
    Category

    1930s Surrealist Figurative Prints

    Materials

    Etching

  • 'Fantasia Americana - 1880' — Mid-Century American Surrealism
    By Lawrence Kupferman
    Located in Myrtle Beach, SC
    Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Archivally matted to museum standards, unframed. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...
    Category

    1940s Surrealist Figurative Prints

    Materials

    Drypoint, Etching

  • 'Early Marshes' — Mid-Century Surrealism, Atelier 17
    Located in Myrtle Beach, SC
    Ian Hugo, 'Early Marshes', from the portfolio 'Ten Engravings'. engraving, 1943, edition 50. Signed, dated, titled, and numbered '37/50' in pencil. A fine impression, with delicate ...
    Category

    1940s Surrealist Figurative Prints

    Materials

    Engraving

  • 'Encircled' — Mid-Century Surrealism, Atelier 17
    Located in Myrtle Beach, SC
    Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...
    Category

    1940s Surrealist Figurative Prints

    Materials

    Engraving

  • 'Forest Woman' — Mid-Century Surrealism, Atelier 17
    Located in Myrtle Beach, SC
    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...
    Category

    1940s Surrealist Figurative Prints

    Materials

    Engraving

  • 'Mother of All' – Mid-Century Surrealism, Atelier 17
    Located in Myrtle Beach, SC
    Ian Hugo, 'Mother of All', engraving, 1945, edition 50. Signed, dated, titled, and numbered '48/50' in pencil. With the blind stamp 'madeleine-claude jobrack...
    Category

    1940s Surrealist Figurative Prints

    Materials

    Engraving

You May Also Like
  • Autumn
    By Salvador Dalí­
    Located in Hollywood, FL
    ARTIST: Salvador Dali TITLE: Autumn MEDIUM: Etching SIGNED: Hand Signed EDITION NUMBER: 89/150 The total tirage is 1,150, only 150 of the pieces have color added and signed ME...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Etching

  • L'Ange Gabriel - Etching attr. to Salvador Dalí­ - 1972
    By Salvador Dalí­
    Located in Roma, IT
    L'Ange Gabriel is an etching and aquatint realized in 1972. The artwork represents an episode of a novel included in Boccaccio's Decameron. Limited edition number 48/125 prints on ...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Etching

  • Salvador Dali - The Drawers
    By Salvador Dalí­
    Located in Collonge Bellerive, Geneve, CH
    Salvador Dali - The Drawers - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)
    Category

    1960s Surrealist Nude Prints

    Materials

    Etching

  • Nude - Original Etching and Drypoint - Mid-20th Century
    Located in Roma, IT
    Nude is an original print in etching and drypoint on white paper realized by an Anonymous artist of the Mid-20th Century. In very good conditions. The artwork created through deft s...
    Category

    Mid-20th Century Surrealist Figurative Prints

    Materials

    Etching, Drypoint

  • Salvador Dali - The Tournament of Galore - Original Handsigned Etching
    By Salvador Dalí­
    Located in Collonge Bellerive, Geneve, CH
    Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 From the rare additional suite of 100 aside from the edition of ...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Etching

  • Salvador Dali - Moshe Dayan - Original Handsigned Etching
    By Salvador Dalí­
    Located in Collonge Bellerive, Geneve, CH
    Salvador Dali - Moshe Dayan - Original Handsigned Etching Dimensions: 38 x 28 cm 1968 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Fi...
    Category

    1960s Surrealist Nude Prints

    Materials

    Etching

Recently Viewed

View All