Cubist Art

This exquisite lithograph after Georges Braque (1882-1963), titled Sans titre (Untitled), from Carnets Intimes de G. Braque, Verve: Revue Artistique et Litteraire, Vol. VIII, No. 31-...

Flowering Bulbs by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 16 x 13 inches Provenance: all the paintings we have by this artist have...

This exquisite lithograph after Georges Braque (1882-1963), titled Sans titre (Untitled), from Carnets Intimes de G. Braque, Verve: Revue Artistique et Litteraire, Vol. VIII, No. 31-...

Fruit Still Life by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 24 x 24 inches Provenance: all the paintings we have by this artist hav...

Nothing More But Angularity This pastel drawing ‘Model Session – 16-09-25 – 2’ is a display of nothing more but angularity over the top. A live model position that begged ...

This exquisite lithograph after Georges Braque (1882-1963), titled Sans titre (Untitled), from Carnets Intimes de G. Braque, Verve: Revue Artistique et Litteraire, Vol. VIII, No. 31-...

"Teen Girl" Mid Century Cubist Figurative Portrait in Oil on Canvas This piece depicts the figure through interlocking geometric forms structured by vertical bands. A restrained pa...

Jacob Lawrence (American, 1917-2000), "General Toussaint L'Ouverture", Screenprint in Colors on Bainbridge Two-Ply Rag Paper, 1986, signed in pencil and dated lower right, titled low...

Joseph Kardonne (1911-1985). Passaic River Landscape 1967. 9.5 x 13 inches. Watercolor on paper, sheet measures inches. Signed, dated and titled lower right. Excellent condition. ...

Reclining Nude - Cubist Abstract in Vibrant Colors, Signed, 14x36 Inches A reclining nude is rendered with angular, simplified forms and outlined contours. The figure is set against...

Pascal Jarrion was born in 1961 in Perpignan, France, a region known for its Catalan culture as well as its influence on artists before him, including Picasso, Van Gogh, and Maillol....

This exquisite lithograph by Fernand Leger (1881–1955), titled Sans titre (Untitled), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

The sculpture was created by artist Pablo Maojo, one of Spain's most famous and renowned sculptors. It was created in 2015 and measures 58 x 43 x 3 cm. It is a truncated flute, a mus...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 33 (Plate No. 33), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Original Artwork - Oil on Canvas David Henty’s art is renowned for its extraordinary ability to recreate the techniques, materials, and visual style of history’s greatest painters s...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio De memoire d'homme (In living memory), originates from the 1950 edition published...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 37 (Plate No. 37), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 36 (Plate No. 36), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

Woman in Beige by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 29 x 20 inches Provenance: all the paintings we have by this artist have ...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 29 (Plate No. 29), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 28 (Plate No. 28), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 26 (Plate No. 26), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

This exquisite lithograph and pochoir after Sonia Delaunay (1885–1979), titled Planche No. 19 (Plate No. 19), from the folio Compositions, couleurs, idees, Sonia Delaunay (Compositio...

This contemporary bronze table top sculpture of a violinist is by Howard Newman. A much-admired and celebrated American painter, sculptor, art restorer and inventor, Howard Newman h...

This exquisite lithograph after Georges Braque (1882–1963), titled Paysage (Landscape), originates from the 1968 folio Varengeville, published by Maeght Editeur, Paris, and printed b...

Red Hammond (American) The Klue, 1986 Oil on canvas 65 1/4 x 53 1/2 x 1 1/2 in. Signed, dated, and inscribed verso Artist statement sourced from Red Hammond's website: ORIGINALITY As an artist I put myself into the piece of art not to achieve originality for its own sake, but to be honest to, to follow the work. Immersion in the making ensures that the work will be authentic -.that its uniqueness allows the work to emanate its own light, encouraging the viewer to look and to see. While not initially apparent, my paintings typically have numerous, subtle inflections that are often hidden at first glance because the large primary, usually black forms, are strong and register first. SHAPES AND EMOTIONS I place significant emphasis on my ability to invent personal shapes. When put together, they establish a dialogue within the painting. I start without any preconceived idea for the painting and do not work from drawing in order to maintain the spontaneity and challenge to work through a solution - to remain fresh and capable of creating surprises for both myself and the viewer. Working instinctually, , I grope around, figuring out how the feelings I have manifest themselves in a specific shape or shapes and how to achieve the overall mood I’m searching for in a particular piece. SYMBOLS AND MEANING I build a painting with symbols that go beyond words, creating works that may appear somewhat opaque, mysterious, at times. This encourages engagement on the part of the viewer and allows each viewer to arrive at their own ideas concerning the works’ meaning. Viewers of art often confuse subject matter with content. A cow in a field is a cow in a field - that is subject matter. Content is what the artist puts in of him or herself. That is an intangible that is difficult to decipher. I find the early work of the American abstract expressionists and the artifacts and ritual art of indigenous peoples and tribal cultures to be inspirations. COMPLETION Often I’m sure that I have completed a painting and for that moment in time I probably have. Sometimes, however, hours, days or several years later, I look at again and realize that while I was correct for that moment, the painting’s potential was never realized. So I begin the process of working that painting again, and this process can go on for years until I’ve finally got the painting to where it needs to be in order for it to be fully realized. ART AS THERAPY AND DISCOVERY Like life, art is not just about self-improvement but also about self-discovery. If I’m not working on getting better as a painter, improving my paint application or pushing myself to expand my limits as a person, I feel I’m letting myself down and falling short of my potential as an artist. Each day in the studio is a mini-metaphor for life that demands and rewards patience.… Without it, I end up with a big...

Portrait of a Young Woman Reading in Garden Seated on a Chair by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 20 x 25.5 inches signed ve...

At the Bar by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 25 x 21 inches Provenance: all the paintings we have by this artist have come...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Trees by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE signed oil on canvas, framed framed: 13.75 x 17 inches canvas: 13 x 16 inches Provenance: all the paintings we hav...

Vintage French modernist South France landscape oil painting from the cirlce of Andre LHote. Apparently unsigned. Very finely painted. Oil on canvas, lain to board. Framed. Measu...

This exquisite lithograph by Fernand Leger (1881–1955), titled Sans titre (Untitled), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite lithograph by Jacques Villon (1875–1963), titled Portrait d'acteur (Actor Portrait), from Regards Sur Paris (Views of Paris), originates from the January 22, 1963 issu...

This exquisite lithograph and pochoir after Georges Braque (1882–1963), titled Oiseau au couchant (Bird at Sunset), from the album Georges Braque, Le Solitaire (The Solitary), originates from the 1959 edition published by XXe siecle, Paris, in collaboration with Fernand Hazan, Paris; rendered by Daniel Jacomet, Paris; and printed by Daniel Jacomet et Cie, Paris, 1959. Oiseau au couchant (Bird at Sunset) reflects Braque’s meditative engagement with the motif of the bird—an enduring symbol of transcendence, freedom, and poetic solitude in his mature work. Through simplified form and muted harmony, the composition evokes the quiet passage of twilight, translating nature’s fleeting beauty into a timeless visual poem. Braque’s masterful integration of geometric abstraction with lyrical rhythm captures the balance between motion and stillness, light and silence. Executed as a lithograph and pochoir on velin d’Arches paper, this work measures 7.25 x 9.375 inches. Unsigned and unnumbered as issued. The edition exemplifies the technical excellence of Daniel Jacomet et Cie, Paris, produced in close collaboration with XXe siecle and Fernand Hazan, Paris. Artwork Details: Artist: After Georges Braque (1882–1963) Title: Oiseau au couchant (Bird at Sunset), from the album Georges Braque, Le Solitaire (The Solitary), 1959 Medium: Lithograph and pochoir on velin d’Arches paper Dimensions: 7.25 x 9.375 inches (18.42 x 23.81 cm) Inscription: Unsigned and unnumbered as issued Date: 1959 Publisher: XXe siecle, Paris, in collaboration with Fernand Hazan, Paris Printer: Daniel Jacomet et Cie, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Georges Braque, Le Solitaire, published by XXe siecle, Paris, in collaboration with Fernand Hazan, Paris; rendered by Daniel Jacomet, Paris; and printed by Daniel Jacomet et Cie, Paris, 1959 Notes: Excerpted from the album (translated from French): XXX examples of this work were printed on Arches paper, containing an original engraving by Georges Braque, numbered from I to XXX. CM examples, constituting the original edition, including CCC for F. Hazan, publisher in Paris, CCC for A. Zwemmer, publisher in London, and CCC for the New York Graphic Society, LX examples, marked H.C., are reserved for the Author and the Publisher. About the Publication: Georges Braque, Le Solitaire (The Solitary) was published in Paris in 1959 by XXe siecle in collaboration with Fernand Hazan and printed by the Atelier Daniel Jacomet et Cie. Conceived as both a visual and literary homage to one of the founding figures of Cubism, the volume represents one of the most refined art book productions of the postwar era. The publication was issued in conjunction with the journal XXe siecle, under the direction of G. di San Lazzaro, a central figure in promoting modern art through his collaborations with artists such as Picasso, Miro, Chagall, and Calder. Le Solitaire brought together Braque’s mature reflections on nature, still life, and metaphysical quietude, accompanied by critical essays and reproductions of his work. The pochoir and lithographic plates—executed by Daniel Jacomet, whose atelier was renowned for its exceptional color pochoirs—capture the texture and tonal depth of Braque’s original paintings with rare precision. About the Artist: Georges Braque (1882–1963) was a French painter, sculptor, and printmaker whose pioneering vision transformed the course of 20th-century art. A central figure in modernism and the co-founder of Cubism alongside Pablo Picasso, Braque redefined visual perception by breaking objects into geometric forms and reassembling them from multiple perspectives, creating a new visual language that bridged the gap between abstraction and reality. His early work was influenced by the vibrant colors and expressive energy of the Fauvist painters Henri Matisse and Andre Derain, before evolving toward the more analytical and structured compositions inspired by Paul Cezanne’s theories of form and perspective. Braque’s collaboration with Picasso between 1908 and 1914 marked one of the most fertile and revolutionary periods in art history, resulting in works that challenged traditional notions of space, depth, and illusion. Throughout his career, Braque maintained a deep interest in harmony, rhythm, and balance, infusing his still lifes, landscapes, and later reliefs with poetic subtlety and intellectual rigor. He moved among a brilliant circle of contemporaries including Pablo Picasso, Henri Matisse, Marc Chagall, Juan Gris, Fernand Leger, and Amedeo Modigliani—artists united in their pursuit of new modes of artistic expression. Braque’s influence extended well beyond his own era, shaping the creative approaches of later modernists such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom drew inspiration from his structural innovations and aesthetic integrity. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to embody the essence of modern artistic thought and visual poetry. The highest price ever paid for a Georges Braque artwork is approximately 15 million USD, achieved in 2013 at Christie’s New York for Paysage a la Ciotat (1907). Georges Braque Oiseau...

Paysage de la Cote d'Azur 65 x 54 cm Oil and Acrylic on Canvas Paysage de la Côte d'Azur captures a Mediterranean port town from an elevated, shifting viewpoint — rooftops, facades,...

Joseph Kardonne (1911-1985). Nude Woman, 1968. Watercolor on paper, sheet measures 20 x 12.75 inches. Signed, dated and titled lower right. Excellent condition. Born in Newark, New ...

Clara Deike (American, 1881-1964) My Studio Stove, 1936 Oil on canvas Signed and dated lower right, titled verso 23.5 x 19.5 inches 29.75 x 25.5 inches, f...

This exquisite engraving by Pablo Picasso (1881–1973), titled Mort d'un faune (Death of a Faun), from Deux Contes, Le Centaure picador, Le Crepuscule d'un faune (Two Tales, The Centa...

A beautiful 1950's cubist oil on board depicting houses with a fishermen's chapel by Jack Metson. Excellent quality and a leading example of the artists work. Signed lower left and i...

This impression is signed and numbered 24/25. The references for this work are: Auberty & Perussaux 191 and Ginestet & Pouillon E. 277. This is one of Jacques Villon’s gr...

ULISES JIMENEZ "MUSICA" METAL, SIGNED COSTA RICA, 2022 30 INCHES Ulises Jiménez Obregón was born in La Mansion de Nicoya, Costa Rica, in November 1953. He studied Plastic Arts at the Autonomous University of Central America. 1992 He attended the drawing and painting workshop of the painter Eduardo Barracosa, and followed courses of painting at the ESEMPI School of Art, with the painter Francisco Alvarado Avella. In addition to making sculptures in wood and stone "nicoya marble", he is also a painter. As a sculptor he has around 300 sculptures cataloged and sold all over the world, with works in Europe, Latin America, North America, Canada and Asia. EXHIBITIONS: From 1984 to 2010, he has participated in more than 50 group exhibitions, among others: National Exhibition of Plastic Arts of the Costa Rican Art Museum. Zentic Art Exhibition at the Old Customs National Museum of Costa Rican Art and Embassy of Japan, September 2010. Painting Contest of the North American Costarican Cultural Center. Drawing Contest of the Costa Rican Social Security Fund. He has participated in the following sculpture exhibitions and symposiums: I Meeting of Pacific Sculptors, held in Canton de Orotina in 2006. International Sculpture Meeting in Punta Arenas 2007. Sculptural Encounter of San Ramón 2008. I Symposium of Guadalupe 2009. IV International Credomatic Sculpture Symposium, Barva de Heredia, February 2009. He was selected for the Second Biennial of Painting and Sculpture of the ICE Group, March 2009. II Symposium of Guadalupe, 2010. Sculptural Exhibition 2010 organized by the Municipal School of Integrated Arts of Santa Ana, (March-April 2010). I International Symposium of Plastic Arts, Tejeda, Gran Canaria...

Still Life of Coffee Pot and Cup by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 18 x 15 inches Provenance: all the paintings we have by...

Le Groupe Lithograph, 1963 Signed and numbered in pencil, lower right Edition: 75 (68/75) see photo Publisher: Erker Presse, St. Gallen blindstamp lower left. see photo From the suit...

Portrait by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 16 x 13 inches Provenance: all the paintings we have by this artist have come f...

A contemporary industrial grayscale geometric abstract with brown accents by Bay Area artist Michael Pauker (American, b. 1957). Evoking a highly abstracted urban cityscape from abov...

This exquisite lithograph by Fernand Leger (1881–1955), titled Sans titre (Untitled), from the album Cirque, Lithographies Originales (Circus, Original Lithographs), originates from ...

This exquisite heliogravure after Georges Braque (1882-1963), titled Sans titre (Untitled), from Carnets Intimes de G. Braque, Verve: Revue Artistique et Litteraire, Vol. VIII, No. 3...

This exquisite lithograph after Georges Braque (1882-1963), titled Sans titre (Untitled), from Carnets Intimes de G. Braque, Verve: Revue Artistique et Litteraire, Vol. VIII, No. 31-...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

A. Rigollot (France, 20th Century) designed this superb post-cubist and colorist abstract oil on board painting. Colorist painting is characterized by intense color use, which become...

La obra va firmada por el artista en la parte trasera y fechada del año 1976 El estado de conservación es bueno Se presenta enmarcada la obra Medidas de la obra: 70 cm. de altura ...

Cubist Still Life Composition French School, mid 20th century oil on canvas, framed framed: 22 x 26 inches canvas: 18 x 21.5 inches provenance: private collection, Paris condition: v...

This exquisite lithograph by Jacques Villon (1875–1963), titled La Brouette (The Wheelbarrow), from Regards Sur Paris (Views of Paris), originates from the January 22, 1963 issue pub...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Bela de Kristo Nature morte, circa 1956 Signed lower right Oil on board 19 5/8 x 11 3/4 inches Provenance: Alexander Kahan Fine Arts, New York Private ...

This is a beautiful painting by Alberto de Blobs (Barcleona, 1982). Alberto is a talented painter whose elaborate mixture of figurative and free form ...

Sol Lewitt "A form driven from a rectangular solid" Year: 1.992 Woodcut on Japanese paper copy 19/75 Signed and justified by hand Print run of 75 copies. 57,5 x 77 cm.

Cubist composition French School, late 20th century indistinctly signed oil on board, framed with glass cover framed: 13 x 13 inches board: 9.5 x 9.5 inches Provenance: private colle...

"Sonora Desert Monument" is an acrylic painting from Ryan Rivadeneyra's series of imagined modernist sculptures. In this series, Rivadeneyra explores the possibilities of colorful sc...