Nude Prints

The Smoking Girl is an etching realized by Edouard Chimot in the 1930s. Signed on the plate by the artist on the lower right corner. Good conditions. Édouard Chimot (26 November 1...

Artist: Dan May (American, 1955-) Title: "Up the Stairs (Blue)" *Signed and numbered by May in pencil lower left Year: 1998 Medium: Original Linocut on white Hosho handmade paper Lim...

Nude Torso Clarence Holbrook Carter American (1904–2000) Date: Circa 1980 Etching, signed and numbered in pencil Edition of AP 25 Image Size: 6 x 5 inches Size: 10 in. x 9.5 in. (2...

Artist: Henri Matisse (after) Title: Nus Bleus I Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Framed Size: 21 3/4" x 18" Sheet Size: 14" x ...

Medium: original lithograph. Catalogue references: Delteil 44 or Roger-Marx 19. Printed in Paris by Clot and published in 1919 by Ambroise Vollard for the rare "Douze Lithographies O...

Pair of erotic lithographs realized in France in the early 20th century. In very good condition, each has a contemporary frame cm. 43x33.

Marcel Marceau, French (1923 - 2007) - Nude Man with Marcel, Portfolio: Le Troisieme Oeil (The Third Eye), Year: 1981, Medium: Lithograph on Arches Paper, signed and numbered in p...

Marcel Marceau, French (1923 - 2007) - Nudes in Landscape, Portfolio: Le Troisieme Oeil (The Third Eye), Year: 1981, Medium: Lithograph on Arches Paper, signed and numbered in pen...

Woman from Shoulders is an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered edition, I/X. In good condition ...

Nudes is an Original Etching realized in Early 20th Century by Raphael Drouart (1884-1972). The artwork is in good condition. Hand-signed. Numbered. Edition,18/25. Maurice Raphaë...

FINNEGAN’S SLEEP — Original Poster (1986) by David O’Docherty Bring home a captivating piece of 1980s avant-garde art with FINNEGAN’S SLEEP, an original poster printed in 1986 from a...

This is from a series of linocuts made with a single horizontal line. The resulting mesh of black and white creates a shimmering effect that both defines and blurs the image. Objects...

Woman from the Back is an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered on the lower left. Edition of 50. ...

Pablo Picasso, Spanish (1881 - 1973) - La Chevre-Feuille Suite, Year: 1943, Medium: Suite of 18 Color Etchings, with cover sheet, Image Size: 10.5 x 8.25 inches, Size: 11 x 9 in. (2...

Artist: After Pablo Picasso (1881-1973) Title: Femme Songeuse et Inquiète dans L'atelier de Sculpture (after Bloch 188) Year: 1992 Medium: Reproduced from the original edition using ...

Figure 1, 1971 Colin Self Etching, open bite, printed in black, on wove Signed, titled, dated and numbered from the edition of 60 verso From Prelude to 1000 Temporary Objects of our...

Artist: Mel Ramos, American (1935 - ) Title: Camilla Year: 1989 Medium: Screenprint, signed and numbered in pencil Edition: 161 Image Size: 37 x 32 inches Paper Size: 42 in. x 36 i...

SuperVision by Abi Polinsky Print on Hahnemüle Photo Rag paper. 2021 W 62" x H 31" — Framed. Signed limited edition of 5. — Please contact us for shipping quotes and customiz...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Artist: Dan May (American, 1955-) Title: "Nude Near Pool" *Signed and numbered by May in pencil lower left Year: 1989 Medium: Original Screenprint on unbranded white wove paper Limit...

Color lithograph, 1963. Signed by the artist in red crayon, lower right. Published by Éditions Cercle d'Art, Paris. From Les Dames de Mougins. Edition of 1000, unnumbered Frame...

"Olympia" Nude Black & White Photography 39" x 29.5" in Ed. of 4 by Lukas Dvorak Pigment print on Epson Fine ART paper 2023 Ships rolled in a tube Other sizes available ABO...

Artist: Mel Ramos, American (1935 - ) Title: Nude Descending a Staircase Year: 2012 Medium: Lithograph, signed and numbered in pencil Editi...

Artist: Mel Ramos, American (1935 - 2018) Title: Hav a Havana #7 Year: 2008 Medium: Lithograph, signed and numbered in pencil Edition: 199 Paper Size: 29.75 in. x 44.5 in. (75.57 cm...

Oskar Kokoschka, Austrian (1886 - 1980) - Musizierender Faun, Year: 1976, Medium: Lithograph on laid paper, signed and numbered in pencil, Edition: 100, Image Size: 10.25 x 8 inche...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

El Niño y la Vela (The Child and the Candle), 1979–80 Color lithograph on wove paper Signed and dated in pencil, lower margin; numbered from the edition of 125 Blind stamp of Kyron, ...

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

Artist: Leonor Fini Title: Femmes en Costumes Year: c.1970 Medium: Original color engraving Edition: Inscribed E.A (Epreuve d'Artiste, Artist Proof) in pencil Paper: Arches paper Ima...

Polish painter and graphic designer, Czeslaw Tumielewicz was born in 1942. In 1968, he studied at the Architecture faculty of Gdank, before continuing his course at the Technical Un...

This exquisite lithograph after Henri Matisse (1869–1954), titled Acrobates (Acrobats), from Verve, Revue Artistique et Litteraire, Vol. IX, No. 35–36, originates from the 1958 issue...

Female nude etching, from a series of 6 male and 6 female images. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine Arts degree in 19...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Guéridon et Guitare". The original painting was completed in 1920. In the 1970's after Picass...

Kneeling Female Nude, Turning to the Right is a beautiful lithograph from the portfolio "Erotica" by Egon Schiele. It is a reproduction of the ho...

Underwater nude shot from above a small cenote in Tulum, Mexico. Other size prints, framing options and print methods (such as fine art paper or face mounted plexiglass) available up...

Image dimensions: 97 x 69.5 cm. Silhouette VI is an original color etching realized by the Italian artist Giacomo Porzano (Lerici, 1925 - Rome, 2006) in 1972. Hand-signed and dated...

Martin Barooshian, American (1929 - 2022) - Nude Figure Study, Year: circa 1979, Medium: Etching and Aquatint on Arches, signed in pencil, Image Size: 9.5 x 15.75 inches, Size: ...

Woman from the Back is an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered on the lower left. Edition of 50. ...

Standing Nude is a original artwork realized in 1976 by the Spanish artist José A.Benasalvas. Original Woodcut on rigid paper. Edition of 25 prints. Hand-signed by the artist on t...

Siergiej Timochow, a Belorussian artist, born in 1960. He studied at an art school in Minsk in 1979 before continuing to study at the Fine Arts Academy in Belarus. His acrylic and ...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Nude is an etching realized by Edouard Chimot in the 1930s. Signed on the plate by the artist on the lower right corner. Good conditions. Édouard Chimot (26 November 1880 – 7 June...

Woman from the backis an etching on paper, realized by the Italian artist Giacomo Porzano (1925-2006). Hand-signed on the lower right. Numbered edition,10/20. In good condition ...

Kneeling Male Nude in Profile is a beautifulcolored lithograph from the portfolio " Erotica " after Egon Schiele. It is a reproduction of the homonym artwork realized in gouache, w...

PAWEL ZABLOCKI (born in 1960) Pawel Zablocki is a graduate of the Academy of Fine Arts in Cracow. He received his diploma in 1987. Between 1991 and 1998, Zablocki studied semiotics a...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Signed and numbered linocut, from a series of 4 male and female nudes. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine Arts degree in...

Torso Leonard Baskin, American (1922–2000) Date: 1967 Etching, signed and numbered in pencil, dated in the plate Edition of HP Image Size: 10 x 8.75 inches Size: 20 x 15 in. (50.8 x ...

Image dimensions: 12.5 x 15.5 cm. Drypoint, etching. Not signed. Good condition.

Nude of Woman is an original artwork realized by Osvaldo Peruzzi in 1988. Mixed colored lithograph. Hand-signed by the artist on the lower right. Num...

Nude is an etching realized by Edouard Chimot in the 1930s. Signed on the plate by the artist on the lower right corner. Good conditions. Édouard Chimot (26 November 1880 – 7 June...

A lithograph reproduction from the Marina Picasso Estate Collection after the Pablo Picasso painting "Nu se tordant les cheveux". The original painting was completed in 1952. In the...

Andre Masson, French (1896 - 1987) - La femme au poisson, Year: 1972, Medium: Etching, signed in pencil, Image Size: 6 x 5.5 inches, Size: 12.5 x 11 in. (31.75 x 27.94 cm), Descript...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Artist: Mel Ramos (American, b. 1935) Title: Peek-a-Boo Marilyn 1 Year: 2002 Medium: Lithograph, signed and numbered in pencil Edition: 199 Size: 31.5 in. x 23 in. (80.01 cm x 58.42 cm)

Serena is an original woodcut realized by Arturo Martini. Title and signature printed on the lower margin. The State of preservation is good. The artwork is representing a woman beside a vase of flowers in a frame through intense bla...

Couple is an original etching realized by Louis Jou in the Early 20th Century. Good conditions. Specimen before the lettering. Louis Jou (Gracia, 1882 - Baux, 1968), the twentieth-century etcher and wood engraver, was a prolific illustrator of a large number of books in France, authored by big names like Andre Gide...

Josef Levi, American (1938 - ) - Still Life with Cranach and De Heem, Year: 1980, Medium: Screenprint on Arches, signed, titled, numbered and dated in pencil, Edition: Trial Proof,...

Paul DELVAUX Dreaming Nude, 1950 Original lithograph (Mourlot workshop) Printed signature in the plate On Lana vellum 19 x 13,6 cm (c. 8 x 5.5 in) Excellent condition