Cubist Art

André LHOTE (1885-1962) Roman Remains : Bridge in Provence (Le Pont du Gard), c. 1925 Original Indian ink drawing Signed in the bottom right corner On paper 16 x 26 cm at sight Pre...

This poster was designed by Henri Deschamps using as subject the oil on canvas entitled "The Young Painter" by Pablo Picasso on 11 April 1972. The original painting by Picasso is in ...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: : 8 x 13.75 inches Inscription: Signed in the plate ...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 6.125 x 13.75 inches Inscription: Signed in the plat...

French School, circa 1970's oil painting on cardboard, framed 21.75 x 17 inches Superbly decorative and bold abstract painting from the 1970's, of French authorship. Painted with st...

Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper. Monogrammed in the plate. It belongs to the suite "Contrastes", printed by Daniel Jacomet and publi...

Facing to the side, this portrait of Olga Picasso (Khokhlova) demonstrates Pablo Picasso's ability to capture dimension with the use of shading and highli...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 6 x 13.75 inches Inscription: Signed in the plate an...

This oil painting is signed by the artist "A.Lhote." in the upper left corner. The work was painted in 1928. Note; The village is perhaps La Laupie. Provenance: This work is ac...

Framed size 41.5 x 52 inches. This painting was exhibited at the Salon Indépendants in 1964, label on verso, Louis-André Margantin was a student at the École Nationale des Arts Déc...

Claude VENARD (1913-1999) Woman by the Sea Original Lithograph Signed in pencil Numbered / 100 copies On Arches vellum, 74.5 x 52.5 cm Very good condition, minor handling defects o...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

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....

"The Golden Rule" is an abstract painting by Spanish artist Natalia Roman. These color field paintings are inspired by both modernist shapes of the fifties and sixties combined with ...

Cubist still life indistinctly signed, dated 1950's signed watercolour on artist paper, unframed Painting: 15 x 18 inches Provenance: Private collection, Paris Condition: Great condi...

CLAES-THOBOIS Albert Statue. Pastel. Signed and dated 1929. Provenance : Collection of the mistress of the artist. Born in Ixelles in 1883, Claes-Thobois studied at the Academy of Brussels under Constant Montald...

Roundism – 22-09-20 Roundism Once More After an odd month doing other project it was time to do one in my roundism style again. Actually it was inevitable to do this piece in m...

This lithograph was produced for the Braque-Chagall-Picasso Graphik exhibition held at Galerie Valentien in Stuttgart Königsbau from December 1968 to January 1969. The lithograph is ...

Hand Signed. Edition of 25 pieces. Very good conditions.

Alvin Carl Hollingsworth, American (1928 - 2000) - Equis Equitude, Medium: Lithograph, signed and numbered in pencil, Edition: PP, Image Size: 9 x 4.5 inches, Frame Size: 18.5 x ...

This print by Pablo Picasso is representative of his forays into the manipulation of perspective regarding the depiction of faces. Showing a woman seated for a portrait in profile, t...

Mark Morrison (1895-1964) Cockerel, ca. 1950 Carved and polished red Verona marble 4.25" wide, 8" deep, height is 22.25" Provenance: Estate of Mrs. Mark Morrison. Born: Kingf...

Croatian artist Bernard Simunovic plays with color, form, and minimalist lines in his abstract figurative cubist works, analyzing the sculptural capa...

All of a Sudden, Sun! Last week on my way home from a student I came across Buitengoed Leeuwenbergh. It was late in the afternoon and surprizingly a drizzly grey day turned into a b...

Still Life by Paul-Louis Bolot (French 1918-2003) signed & dated signed oil on canvas canvas: 15 x 18.5 inches original oil painting condition: very good a...

(after) Georges Braque, (1882 - 1963) Les Oiseaux Noirs (Black Birds), 1956 Lithograph Printed in Jacomet workshop On vellum 40 x 48 cm (c. 16 x 19 inc...

Color lithograph on BFK Rives, from the series "Papier Collés".  This series reproduces some of the most iconic works by Picasso in the years 1910-1914, during the birth of cubism. ...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

Still life is original print realized after George Braque in 1931, with watermark of editor on the lower-left embossed stamp, J.B, Jenne Boucher Paris, From the edition of 1000 prints performed in 1933, the description notes on the rear. Titled in the French" Nature morte (toile), Editions J. Boucher and J. Becker, Paris and New York. Good conditions. Georges Braque (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s Les Demoiselles...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 12.625 x 18.75 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

This high-quality reproduction of Pablo Picasso’s Jacqueline Assis avec son Chat Noir is printed on Arches paper using a five-color offset lit...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

Lithograph and stencil on vélin pur chiffon d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition; unframed. Notes: From the folio, Faunes et Flore d'Antibe...

Copper and wood box. "Americordo #7" is composed of copper tiles inlaid to the bottom half of the box and on the top rests a patinated etched copper or bronze circle. The box when closed measures to be 17" Sq. x 3.5" H. David Barr (1939-2015) is an American sculptor and painter from Detroit, MI. Known for constructivist sculpture, architecture and surrealist, assemblage box sculpture collage works. Born in 1939, Barr is an internationally known artists and has created many installations in natural settings. Vault took over a year to complete. His sculptures represent mathematics, geography and structurist nature, and otherwise known as "geo-structures." This one is kinetic and can be moved around. Barr is a graduate of Wayne State University and recipient of the WSU Distinguished Alumni Award. Influenced by sculptor Charles Biederman. In 1995 he founded the Michigan Legacy Art Park, and has pieces at the Chrysler World Headquarters, Flint's Bishop Airport, the Detroit Zoo, the State of Michigan Historical Museum and the Meadowbrook Festival Grounds Barr earned a master’s of fine arts degree from Wayne State University and was an associate professor of sculpture at Macomb Community College in Warren for 37 years. He worked on perhaps the largest sculpture in the world, the Four Corners Project, with installations at Greenland, Africa, Irian Jaya (New Guinea) and Easter Island. His sculptures are located all over the state of Michigan, but perhaps his most recognizable is Transcending, a blend of bronze, steel and granite that acknowledges the contributions of Detroit’s laborers and skilled tradespeople. David Barr is the founder of Michigan Legacy Art Park. David’s career as an artist, instructor, author and global thinker has crossed borders around the world, bringing people and ideas together. Over fifty years as a sculptor, David created a body of work that includes hundreds of wall-hanging structurist reliefs, sculptures for public spaces (such as Transcending in Hart Plaza, Detroit done with Sergio De Giusti), works for private collections, massive global projects (such as The Four Corners Project) and Michigan Legacy Art Park. David’s studio was in Detroit for fifteen years until he realized he needed nature as a source of inspiration. In 1977 he bought 4 acres of land in rural Oakland County (now Novi) and in 1979 built his home, a contemporary structure that has become the centerpiece of his own art park. His work is included in the collection of outdoor sculptures at The Dennos Museum Center along with Clement Meadmore, Hanna Stiebel...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

In this dramatic print by Pablo Picasso, the artist has rendered a figure in mourning using several different perspectives and angles. Portrayed wth two tears streaming from the left...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

This is a one of a kind original oil on paper cubist painting mounted on board by Viktoria Romanova. Its dimensions are 25" x32". It is framed as pictured. A certificate of authentic...

Abella original still life cubist acrylic painting Juan Jose Abella Rubio was born in Estercuel, a hamlet anchored in the Teruel mining basin in March 1944. In his painting the oche...

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 9.375 x 13.75 inches Inscription: Signed in the plat...

Vintage signed large abstract oil painting. Oil on canvas. Signed.

Guitar Player is a contemporary artwork realized by Ossip Zadkine Lithograph on BFK Rives, with watermark and dry stamp 'Bodensee Verlag'. Includes passepartout each 87,5 x 68 cm. ...

Lithograph and stencil on papier a la cuve du moulin Richard de Bas paper, spécialement filigrané pour cette édition. Unsigned and unnumbered, as issued. Good condition. Notes: From ...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

"Double Vision Bar Scene" is an exclusive handprinted unique cyanotype made by layering paper cutouts of bottle silhouettes and wine glasses using uv...

Lithograph on vélin d’Arches paper. Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Picasso au baiser d'Avignon, douze dessins, lavis, aquarelle...

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...

Wishing Bridge I 41 x 33 cm Acrylic on Canvas This captivating landscape by Greg Mathias exemplifies his signature style of Diachronic Cubism, merging spatial and temporal perspecti...

by Paul-Louis Bolot (French 1918-2003) signed & dated 1968 original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuf...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Dancing with Sun (22) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board Size: 26 x 21 in. (66.04 x 53.34 cm) Frame Size: 27 x 22.5 inches

Cubist acrylic on paper on card by French artist Eliane Versini , signed, dated and titled 'Etude pour le Trio' to the front bottom right and the same to the bottom right reverse. H...

Medium: Lithograph on vélin du Marais paper Year: 1957 Paper Size: 14.5 x 11 inches Catalogue raisonné reference: Cramer, illustration 84 Inscription: Inscription: Unsigned and unnum...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

Picador et Taureau is a linocut reproduction realized in smaller size after a linocut by Pablo Picasso of 1959. Good conditions, except for very minor foxing on edges. Not signed. ...

Lithograph on vélin paper. Paper Size: 9.65 x 12.4 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Léger, Fernand, and Lawrence Saphire. Ferna...

One of the Stations of the Cross by Jean La Forgue (French 1901-1975) *see notes below oil painting on canvas, housed in original metal frame overall dimensions: 17 x 17 inches prov...

Color lithograph after a gouache by Georges Braque from the edition of 398 published by Armand & Georges Israel in 1988. Printed signature. Artwork entirely made in France: from th...