Paper Prints and Multiples

This 1960 black and white Lithograph, "Femme Au Balcon", by Pablo Picasso, was an exhibition poster for a 1960 print exhibition at "Galerie des Ponchet...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Caberet du Lapin Agile, Montmartre, Paris - 13/250 This charming etching depicts a French residential street scene by Saul Yaffie a.k.a., Paul Jeffay (Scotland, 1898–1957) in varying shades of lights and darks with intricately made hash marks. Frame Size: 12.25"H x 14.88"W. Image size: 6"H x 8.75"W. Signed lower right Paul Jaffay and lower left "13 of 250" (impressions) Saul Yaffie, a.k.a. Paul Jeffay, (1898–1957) was a Scottish Jewish artist. Known for his charming French street scenes as well as his Judaica work. Saul Yaffie is listed in the Glasgow School of Art's World War One Roll of Honor. After (1918) the armistice Saul returned briefly to Glasgow, before ‘try[ing] his luck in Paris’ (Schotz, pg. 64). It is around this time that Saul began to sign his work with the pseudonym ‘Paul Jeffay’.He later went by the name Paul Jeffay, and much of his work is signed under this name. Saul Yaffie was born in Blythswood, Glasgow on 29 April 1898. His mother was Kate Yaffie (née Karkonoski), and his father, Bernard Yaffie, was a master tailor. Like many Russian Jews, Kate and Bernard Yaffie fled persecution in Russia during a wave of anti-Jewish pogroms triggered by the assassination of Tsar Alexander II in 1881. Saul's father was naturalised as a British citizen by the time that Saul himself was three; a Bernard Yaffie is recorded as living at Abbotsford Place in the old Gorbals, where the young Saul spent the early years of his childhood. The Yaffies were not unique in their situation: the Gorbals was the centre of Scotland's Jewish community and home to a large proportion of Glasgow's immigrants throughout the early 20th century. Over time, there was a movement to some of the more affluent communities in Glasgow, such as Pollokshields and Garnethill, as many Jewish families gradually improved their social and economic situation. Like these, the Yaffies also experienced a time of good fortune, moving to a more agreeable address on Sinclair Drive, Cathcart as Bernard's tailoring business prospered. Saul attended day classes in drawing and painting, modelling, and life drawing at The Glasgow School of Art from 1912 to 1919. During the First World War, he was required to interrupt his studies to serve in the King's Own Scottish Borderers in 1916/17. Although subject to military conscription, Yaffie reached the rank of corporal during his service. Prior to his conscription Yaffie engaged in munitions work, something that was recorded in the GSA's student registers. The post-war economic depression that affected the country during the 1920s, also affected the Yaffie family directly: Bernard Yaffie's business suffered greatly, and the family eventually emigrated to Canada. Saul did not emigrate with his family, choosing instead to stay in Europe, and relocate to jazz age Paris where he continued his artistic practice. Now married, Saul sought to escape persecution in Europe by returning to the UK before the Second World War with his wife, Estusia. The two settled in Manchester, but returned to France after the war. In his memoires ‘Bronze in My Blood’, German-born sculptor Benno Schotz describes a Saul ‘Yaffe’, one of only three other Jewish students who attended The Glasgow School of Art at the time. (Schotz himself was exempt from joining the forces because he was ‘not yet a British subject’, and was engaged in war work in the drawing office of John Brown’s shipyards). On the outbreak of the war, Schotz writes, Yaffie won a poster competition to be displayed in Glasgow tramcars at the beginning of the 1914-18 war – his winning design depicted a woman with a child in her arms, fleeing from a fire behind her. While on leave from service, the young Saul told Schotz he had briefly been stationed in the same unit as Jewish American sculptor Jacob Epstein. This was most likely the 38th Battalion of the Royal Fusiliers...

Presented here is an invitation to the Picasso Ceramics exhibition held at the Museu Picasso de Barcelona in 2012-13. The front of the invitation displays David Douglas Duncan...

Epical, 1985 Signed, titled, and numbered in pencil Lithograph with hand-coloring Sheet: 22.5 x 17 inches Framed: 31 x 25 inches Edition 3 of 38

The Return, 1985 Signed, titled, and numbered in pencil Lithograph with hand-coloring Sheet: 22.5 x 17 inches Frame: 34 x 26 inches Edition 32 of 35

Sigmar Polke (1941-2010) was one of the most important german artists of the late 20th century. In 1961 he joined with Manfred Kuttner, Konrad Lueg and Gerhard Richter the class of Karl Otto Götz at the Kunstakademie Düsseldorf and these four upcoming artists presented their latest works in an in their own initiative curated exhibition to bring the newest art movements from oversea and Paris to Germany. On the invitation cards they printed the terminologies „Pop Art, Junk Culture, Nouveau Realisme, Common Object Painting, Neo Dada, New Vulgarismus, Antikunst, Know-Nothing-Genre“ and they proclaimed for theirselves to be the first artists to show a indepently grown Pop Art in Germany, not just as a copy or American import. But Polke showed right from the beginning an ironic distance to the sociocritical style of his combatants, that will run through his entire Ouevre. Influenced by the Fluxus and Neo Dada scene around Joseph Beuys, Daniel Spoerri, Dick Higgins and others in the early 1960s Polke developed is own style characterised by an anarchic mind and esprit. Simliar to the Pop Art Polke searched for the asthetic in the trivial but here too he simoultanesly disavowed the trivial through irony. Very typical for Polke are the famous grid images, known from newspaper printings, where there are horizontal, uniform lines of small dots and by combining certain dots there arises a form. By using perforated sheets and airbrush he could overlay more monochrome grids to create vibrating images and he often played in the printing process with enforced mistakes and errors to disassemble the firm surface of an image to a process of dekomposition. Next to irony and anarchy other keywords to his works are heterogeneity, polyperspectivity and multivalent metamorphoses in which every reality could be something possibly different at the same time. A world where everything is connected; not by fundamental unity but by fragmentary dispersion. Because there is no one true reality, he transfers his works in an intermediate state of transformability. Zollstockpalme (Folding Ruler...

Dieter Roth (1930-1998) was born in Hannover, Germany and grew up in Zürich, Switzerland. He started an apprenticeship as an advertising graphic designer and took private lessons in ...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...