Vertical Nude Prints

Ira Moskowitz, Polish/American (1912 - 2001) - Artist and Model, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 250, Size: 33 in. x 24 in. (83.82 cm x...

Auguste Rodin, French (1840 - 1917) - Nude Woman Lying on her Stomach, Year: 1899-1905, Medium: Lithograph, signed in the plate lower left, Size: 12....

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, 2/20. In good condition ...

Pierre GILOU (Gilles CADIOU) The Abduction Original lithograph Handsigned in pencil Limited /275 copies On vellum 76 x 56 cm (c. 30 x 22 in) INFORMATION: His real name is Gilles CA...

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

Yves GANNE (1931-2019) Naked Woman in the Countryside Original Lithograph Signed on pencil Numbered on 150 copies On vellum Arches 54 x 75.5 cm (c. 21.25 x 29.52 in) Very good cond...

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...

Andre Masson, French (1896 - 1987) - L'Espagne assassinee from Solidarite, Year: 1938, Medium: Etching on wove paper, signed and numbered in pencil, Edition: 1/15, Image Size: 9.25 ...

Limited edition of 66 prints, 50 in arab numbers and 16 in roman numbers, all hand signed and numbered.

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...

Hand signed and numbered. with Hebrew calligraphy "Zion" Chaim Jacob Lipchitz, 1891-1973, was born in Lithuania and came of age in Paris during the early 20th century, where he was...

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

"It Never Rains in LA" Nude Photography 36" x 24" in Ed. 1/15 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finis...

Ex Libris A. Zuyeva Paper, etching, 11x7 cm

Artist: Mel Ramos, American (1935 - 2018) Title: Photoshop CS (Michelle Pfeiffer) Year: 2008 Medium: Enamel on Steel, signed and numbered in marker ...

Leonor Fini - Pleasure - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigne...

Keith Haring Into 84/Keith Haring Painted Man 1983: Announcement card for Keith Haring’s well-documented exhibition, 'Into 84' at Tony Shafrazi Gallery, New Y...

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

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Frau in der Wanne (Woman in Tub)" Series: Die Aktion *Unsigned edition Year: 1915 Medium: Original Woodcut Engraving on crea...

Louis Legrand, 'The Serenade', soft-ground etching, drypoint, and aquatint, c. 1895, edition 20. Signed and numbered '9/20' in pencil. Annotated '20 proofs taken' in pencil, bottom l...

Print without matte is 19" X 13". Michael Knigin was born in 1942 in Brooklyn, NY. He attended and graduated from Tyler School of Art, Temple University. He received a Ford Founda...

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: Marco Dente da Ravenna (Italian, 1493-1527) Title: "Venere e Amore sui Delfini (Venus and Cupid on Dolphins)" *Monogram signed by Dente in the plate (printed signature) lower left Circa: 1515-1520 (second state of three) Medium: Original Engraving on laid paper Limited edition: Unknown Printer: Unknown Publisher: Antonio Salamanca, Rome, Italy Reference: Bartsch XIV, page 244, No. 324; Passavant VI, page 69, No. 32; Le Blanc, II, page 111, No. 16; Imolesi Pozzi pages 71-72, 113, No. 10 Framing: Recently beautifully framed, the sheet is museum mounted, floated over a 100% cotton rag mat in a modern gold moulding and Museum glass Framed size: 16.88" x 13.07" Sheet size: 10.63" x 6.94" Condition: Thread margins. A strong impression in excellent condition Very rare Notes: Provenance: private collection - Périgueux, France. This work is also sometimes referred to as "Venus and Cupid riding two sea monsters, Cupid raises an arrow in his right hand, two heads representing wind in the clouds above". The engraver's monogram "SR" lower left. Published by Antonio Salamanca (1478-1562) in Rome, Italy with his address printed lower right: "Ant. Sal. Exc.". No watermark found. This engraving is after a drawing by Italian artist Raphael aka Raffaello Sanzio da Urbino (1483-1520). "This engraving by Marco Dente is after a design by Raphael, now lost, used by Giulio Romano for his fresco on the south wall of the Stufetta of cardinal Bibbiena - a small room in the Apostolic Palace, at the Vatican, that originally served as a washroom for the cardinal. The engraving differs from the fresco in some details, such as the cityscape in the background and the two winds above, which may indicate that these elements were present in Raphael's drawing. " - Christie's, London Biography: Marco Dente da Ravenna (1493–1527), usually just called Marco Dente, was an Italian engraver born in Ravenna in the latter part of the 15th Century. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi...

Henri Matisse La Persane 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 63 x 44.5 cms (24 3/4 x 17 1/2 ins) Image size: 44.8 x 29 cms (1...

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograp...

"Sepia Kate Moss triplet" Photography 28" × 26" in Edition 2/25 by Kate Garner Signed & dated. Comes with COA Archival Hahnemuhle art paper Not framed. Ships in a tube. Garn...

"Kate Moss (DD pink)" Photography print 25.5 × 19 in Ed. AP/15 by Kate Garner Numbered and Signed in the front. High Quality Print on Hahnemuhle paper using archival ink fully cov...

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...

Leonor Fini - Playful Cat - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinc...

Artist: Mel Ramos (American, b. 1935) Title: Peek-a-Boo Marilyn 3 Year: 2002 Medium: Lithograph, signed and numbered in pencil Edition: 199 Size: 31.5 in. x 23 in. (80.01 cm x 5...

Ex libris Olav Tähe Paper, woodcut, 11x7cm

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Artist: Dan May (American, 1955-) Title: "Nudes on Towels" *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprint on unbranded cream wove paper Limited edition: 104/150 Printer: the artist May himself, Oakland, CA Publisher: the artist May himself, Oakland, CA Sheet size: 31.75" x 29.63" Image size: 24.13" x 24.13" Condition: Light wear to lower right corner. In excellent condition. A fantastic image Notes: Titled and dated by May in pencil lower right. Biography: Dan May is an American painter and printmaker born on March 11, 1955 in San Francisco, CA. Raised in aesthetic surroundings heavily influenced by his architect father, May grew up learning to view all things with an eye for design, color, and shape. At age 5, he remembers his father cutting up a book of drawings by Henri Matisse and hanging them on the walls of their home. The French master Matisse as well as Richard Diebenkorn and David Hockney are his favorite art influences. He began his first attempts at painting at age 15, and later began to experiment with printmaking, teaching himself various techniques such as woodblock printing, etching, silkscreen printing, and monoprinting. Monoprinting soon became May's medium of choice due to its wide range of expression and spontaneity that he felt other techniques lacked. May - "With monoprinting, you can only work a piece for as a long as the paint stays wet, so the resulting print has a feeling of movement and immediacy. I also like how monoprinting allows the brush strokes to transfer a transparent light quality to the print. For me, this is a technique that bridges...

"Nude (Bonjour)" is an original color lithograph by Paul Guiramand. The artist signed the piece in the lower right. This piece is from an edition of 600. It depicts a nude female fig...

Andre Masson, French (1896 - 1987) - Consumed, Portfolio: Dessins Erotiques, Year: 1971, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 23/125, Image Size:...

Original 1987 Keith Haring Safe Sex poster: Illustrated by Keith Haring in conjunction with his many Aids Awareness efforts. A historical vintage 1980s Keit...

Artist: Marc Chagall Medium: Lithograph Title: Mother and Child before Notre Dame Portfolio: Verve Vol VII No. 27-28 Year: 1952 Edition: 6000 Signed: Unsigned Framed Size: 22" x 18 1...

"Light Slide" Nude Photography 36" x 24" in Ed. of 25 by Yevgeniy Repiashenko "Light Slide" by Yevgeniy Repiashenko Year photo was taken: 2013 Art Print Limited Edition of 25 Pictu...

The image is 8 x 8 inches, and the paper it is printed on is 15 x 13.5 inches. This is a quirky and tender image of a naked man sitting on the floor holding a giant iguana on his la...

Salvador Dali - Nude, Horse and Death - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Charles GUERIN Mermaid, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph created for the ...

"Lago di Como" Photography 39" x 29.5" inch Edition of 4 by Lukas Dvorak Pigment print on Epson Fine ART paper 2009 Unframed Ships rolled in a tube ABOUT THE ARTIST Lukas Dvorak...

"Brooke (Crashing Waves)" Photography 30" x 22" in Ed. 2/7 by Larsen Sotelo Not framed. Ships in a tube Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish...

Suzanne VALADON (1865-1938) Women and Children by the River, 1932 Original etching Signed in pencil On BFK Rives vellum 47 x 37 cm (c. 18.5 x 14.5 in) INFORMATION : Printed in 1932...

This original print is hand signed. This is an edition of 50 pieces plus 16 pieces in Roman Numbers. Giacomo Porzano (1925 – 2006) was an Italian painter. He lived and worked in Rome. He exhibited his art in many private and public galleries, both in Italy and abroad. In 1968, he participated in the Venice Biennial. The most important art critics and magazines wrote about him. Prints are the most affordable and reasonably priced artworks...

This artwork titled "Tightrope and Fiddle" c.1975, is an original colors lithograph on Wove paper by noted French/American artist Charles Cobelle, 1902-1994. It is hand signed and numbered 117/500 in pencil by the artist. The artwork (image) size is 34.5 x 22.25 inches, framed size is 43.25 x 30.5 inches. Custom framed in a gold ornate frame, with off-white matting. It is in excellent condition. About the artist: Charles Cobelle, born Carl Edelman (1902–1994), was a modern French master of painting, lithography and a fine muralist, who was born in Alsace-Lorraine, France. He is considered the last link to the great tradition of the Open Line School of Paris. Biography Cobelle received his bachelor's and master's degrees from the University of Munich and continued his studies at the École des Beaux-Arts in Paris. Much more influential in his development, however, were his private studies with Marc Chagall and his apprenticeship in the studio of Raoul Dufy in Menton on the Riviera. Cobelle lived and painted in Paris until the late 1920s and established himself within the great tradition of the School of Paris.[2] In the late 1920s, Cobelle moved to the United States, where his paintings were immediately sought after by galleries and private collectors alike. Cobelle became a U.S. citizen before the outbreak of World War II. In the late 1940s to 1950s, Cobelle lived in Westport, Connecticut.Charles Cobelle lived in Ridgefield CT in a private lake community called Twixt Hills until his death. By the 1950s, spurred by the commercial success of his mentor, Dufy, Cobelle had achieved phenomenal success commercially with his Parisian-influenced style. Much like contemporary artists and designers at the time, his designs graced a number of pottery patterns for various pottery companies, including Midwinter Stylecraft, Universal Potteries and Homer Laughlin China...

Leonor Fini - Walking on Death - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris...

Artist: Raphael Soyer Title: Nude Woman Portfolio Medium: 2 Lithographs, 1 printed in color & 1 black/white Original paper portfolio cover Signed: Hand Signed Edition: From the editi...

Jean Cocteau - Parametabolismes - Original Lithograph Signed "Jean Cocteau" in the plate and dated 1956 in the plate. 39 x 29 cm Edition: 500 Hand numbered Stamp signed lower right

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish...

after Henri MATISSE Edition of 200 with the printed signature, as issued 76 x 56 cm With stamp of the Succession Matisse References : Artvalue - Succession Matisse

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograph...

Artist: Dan May (American, 1955-) Title: "Reclining Nude (Blue) II" Portfolio: Reclining Nudes *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprin...

Liberacion I Collage 13 x 9 My work is mainly abstract, I would say abstract expressionism. I love painting with oils, they give me many possibilities I do not find in other mediums...

Jean Cocteau - Marine Mountains - Original Lithograph Dimensions: 38 x 28 cm Edition: 200 In Rives From: COCTEAU. — VERDET (André). Montagnes marines. S. l. (Paris), Les Messagers du...

Ryan McGinness “Women: The Blacklight Paintings": Hand signed exhibition poster created by the artist for The Standard Hotel, 2010. Screen-print with b...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A signed Certificate of Authority will be included with all photographs. A nude boy...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful...

Leonor Fini - Pride - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned a...