André Derain

Erotic Female Nude - Etching from Le Satyricon

This artwork titled, "Mais O Belle Dionee" from the suite, "l'Art d'Aimer d'Ovide" 1976. is an original wood engraving on Japan nacre paper by artist Salvador Dali 1904-1989. It is...

Joseph FELON (1818 - 1897) The Bath of Venus Original stone lithograph, enhanced with watercolor Printed signature in the plate On vellum 28 x 44 cm (c. 11 x 18 inch) Excellent con...

This artwork titled, "Phobeus, ce Dieu Couronne de Lauriers" from the suite, "l'Art d'Aimer d'Ovide" 1976. is an original wood engraving on Japan nacre paper by artist Salvador Dal...

This artwork titled "La Negra (The Black Woman)" from the suite "The Mujeres File" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 150/150 in pencil by the artist. The image size is 26.85 x 21.25 inches, sheet size is 29.5 x 22.15 inches, framed size is 42 x 35 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #109 page 107. Custom framed in a wooden silver frame, with silver spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Artist: André Masson (French, 1896-1987) Title: "Le Fil d'Ariane (Ariadne's Clew)" Portfolio: For Meyer Schapiro *Signed by Masson in pencil lower right Year: 1973 Medium: Original E...

A highly provocative print, Ho Ho Ho depicts a woman bending over beneath mistletoe. Tubes display the words 'Art' and 'Advertising'. Sensual and sexualised, Hirst plays and provokes...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

"Sitting Nude" (1963) is a lithograph based on Gustav Klimt's original drawing of 1914-16. It depicts in his typical art deco style a nude woman posing with her arms over her head. ...

Two Nude Men is an etching realized by Nicholas Cochin in 1755. Signed on the plate. Good conditions with central folding. The artwork is depicted through confident strokes.

Hans Graeder, German (1919 - 1998) - Nude 1, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 23 in. x 34 in. (58.42 cm x 86.36 cm)