Salvador Dalí­

Untitled (from Petits Nus d'Apollinaire), Surrealism, Modern Art, 20th Century

1967

Mel Ramos (born 1935) Reese's Rose, 2008 Medium: Lithograph in colors Dimensions: 93.5 x 55 cm Edition of 199: Hand-signed and numbered Condition: Mint

David Hockney Untitled (from Geh durch den Spiegel), 1966 Medium: Lithograph on paper Dimensions: 14 7/10 × 10 1/10 in (37.3 × 25.6 cm) Edition of 250: Not signed, not numbered Condi...

Mel Ramos (born 1935) Coca-Lola No. 4, 2004 Medium: Lithograph in colors Image dimensions: 67.5 x 44.5 cm Sheet dimensions: 88 x 60 cm Edition of 100: Hand signed and numbered “Mr. ...

Mel Ramos (American, born 1935) Hav-A-Havana 6, 1999 Medium: Lithograph in colors, on wove paper Dimensions: 52.5 x 55.5 cm Edition of 199: Hand-signed and numbered Condition: Mint

Original poster for the exhibition "Mel Ramos" at Galerie Bischofberger in Zürich in 1972.

Mel Ramos (born 1935) Caramia Caramello, 2008 Medium: Lithograph in colors Dimensions: 94.5 x 58 cm Edition of 199: Hand-signed and numbered Condition: Excellent “Mr. Ramos (…) bega...

Irving Guyer captured the bustle of the city in a modernist style. This print is signed and titled in pencil.

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

Etching monogrammed in the plate. Illustration for a Robert Ganzo's poem "Lespugue" Editions Marcel Sautier, Paris, 1966. Conditions: Good Conditions Dimensions: 25,5 x 16,5 cm. Vellum paper Référence Czwiklitzer n°55. 1890 Zadkine was born on the 14th of July in Vitebsk, a city in Belarussia, on the Dvina. His father Ephime teaches classical languages at the local seminar. His mother Sophie Lester descended from Scots, who emigrated at the time of Peter the Great. 1905 His parents send him to Sunderland, in the North of England, where his mother’s family lives. He studies English and attends modelling courses at the local Art School. 1905-1909 He travels to London without his parents permission where he attends courses at the Regent Street Polytechnicum. In order to earn his living, he plans to work with a stonecutter. He visits the British Museum and studies classical sculpture there. Returns to Smolensk where he produces his first sculpture. Goes back to London. 1909-1910 Zadkine settles in Paris and studies in the ecole Nationale des Beaux-Arts. Finds a workshop in a building called La Ruche, in the XVe arrondissement. 1911 Zadkine presents statues and drawings at the annual Salon d’Automne and at the Salon des Indépendants. It is the ‘cubists’ who draw his attention in Paris. Is essentially close to Russian students who get together in a cafe of the ‘Quartier Latin’. Has himself called Joe Zadkine until 1914. 1912-1913 Finds a room in the neighbourhood of Montparnasse, in the rue de Vaugirard. Studies Roman sculpture. Zadkine is immortalized by his neighbour, photographer Marc Vaux, in his new workshop. Meets Brancusi, Guillaume Apollinaire, Jacques Lipchitz, Pablo Picasso, Antoine Bourdelle, Leopold Survage and Robert Delaunay. Henri Matisse visits Zadkine’s workshop. 1914-1915 Exhibition at the Freie Sezession in Berlin, at De Onafhankelijken in Amsterdam (Holland) and at the Allied Artists Association in London. Thanks to collector Paul Rodocanachi, he can settle in a workshop in the rue Rousselet. Becomes friends with Modigliani. 1916-1917 Works as a stretcher-bearer on the front. Produces drawings and watercolours dealing with war. Zadkine is discharged in 1917. He says he is ‘bodily and spiritually’ ruined by the war. After his stay in the Epernay hospital he recovers in Bruniquel, in the southwest of France. 1918-1919 Makes a series of 20 war etchings...

Figures Composition. 1984. Etching and drypoint. 6 1/2 x 5. Three states, two artist's proofs. Each printed on cream wove paper. Each titled, dated, and signed 'Shortis N[ew] Y[ork]'...

Nude from Back is an original modern artwork realized in the first decades of the 20th Century by the French artist Henri Farge (1884-1970). Original et...

The Suffering Folk is an original etching realized by Louis Jou in the Early 20th Century. Applied on a Passpartout by gluing: 47 x 63 cm. Hand-Signed, Numbered. Edition, 14/40. Good conditions. 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...