Modern Art

Work on wood

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Original 1940 watercolor painting on paper by celebrated Colorado modernist Charles Ragland Bunnell, depicting the Cripple Creek or Victor Mine, nestled ...

Ferenc Berko Nude in Tub, ca. 1940-1949 Gelatin silver print, 13 1/4 x 9 1/2 in. Signed in pencil and misc. notations in black ink on print verso by Ferenc Berko

The Pathway by Andre Guillou (French 1925-2017) signed and dated 1970 oil on canvas, unframed canvas: 23.5 x 29 inches provenance: private collection, Fr...

A beautiful original lithographic poster created for an exhibition of Marini's work at the Galerie Berggruen & Cie. Paris, 1955. There is also an edition of 200 unsigned and unnumber...

Artist: Alexander Calder (1898-1976) Title: Cinq Boules et Deux Serpents Year: 1965 Medium: Lithograph in colors on wove paper Edition: 90, plus proofs Size: 20.5 x 28.75 inches Cond...

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

Il Pellicano Pool 1986 (printed later) C print Estate stamped and numbered edition 1 of 150 with Certificate of authenticity Caption: The seaside pool at the Hotel Il Pellicano in ...

Work on canvas Gilded wooden frame 59,5 x 69,5 x 4 cm

Louis Henri Salzmann was a Swiss painter active during the first half of the 20th century. Born in 1887 and passing away in 1955, Salzmann is known for his landscape paintings and st...

Lithograph in twenty-four colors on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, A Los Toros Avec Picasso, 1961. Published by André Sauret...

The Soldier's Ballad is a contemporary artwork realized by Max Ernst in 1972. Mixed colored lithograph on Arches Paper. Edited by Manus Presse, Stuttgart 1972. Not signed and not ...

A Collectible Jazz Sculpture By Willitts Designs International and Sheng Lung entitled " Sax Appeal" and numbered 62001. This Amazing Resin Metal Jazz Scul...

Oil on canvas realized by Fantuzzi in 1952. Hand signed lower left and on rear.

Artist/ School: Christof Gracieuse, signed and dated 1979 Title: 'Modernist Still life with teapot' Medium: oil on canvas, framed Framed: 23 x 38 inches Painting: 16 x 31 inches ...

Robert Gwathmey Girl with Guitar, 1965 Signed upper right Oil on canvas 16 x 20 inches Provenance: The artist ACA Galleries, New York Mr. Moses Asch, New York Terry Dintenfass Galle...

Abraham Walkowitz, Untitled (Figurative Abstraction of Isadora Duncan #7), pencil, 1918. Signed and dated in pencil, bottom center. A fine, spon...

This is an official photograph of Painting January 7, 1983 by Pierre Soulages, reproduced to capture the artwork as it hangs at the Musée Soulages in Rodez, France. The image showcas...

Les Constructeurs Fernand Leger, French (1881–1955) Date: 1955 Lithograph on Johannot Wove Paper (unsigned) Image Size: 17 x 23 inches Size: 19.5 x 25 in. (49.53 x 63.5 cm)

Lithograph on vélin paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From Derrière le miroir, N° 162. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions...

Original poster: For a Country Where We Are Still Masters of Our Own Destinies, Let's Be Truly Thankful. Silk-screened patriotism. This is a poster meant to appeal to the American family. Soft, rich colors and a patriotic vision... This poster has been archivally mounted on linen and is in fine condition condition. Touched up pin-holes in the corners. A- condition. The Original Think American, USA World War 2 Poster is a captivating piece of history and art. This vintage poster showcases a unique design that captures the era's essence. It features a pilgrim couple gazing out to sea towards their three-master schooner, representing America's pioneering and adventurous spirit. The outline of the United States is a powerful symbol of national pride and strength. The large text along the bottom of the poster delivers a thought-provoking message, reminding viewers to be grateful for the country where they can shape their own destinies. Created and printed by Think America, a renowned brand, this poster is a true collector's item that celebrates American history and values. The ghosted image of early Pilgrims seems to reach out to the American family who are standing on an outline of the United States. The old sailing...

In this painting the artist Larry Abramson depicts an abstract landscape with a high degree of simplification, taking references from the stylistic conventions of conceptual and minimalistic neo avant-garde art movements. Here, the artist applies thick layers of paint allowing for a textural feeling on the surface of the canvas. LARRY ABRAMSON South Africa, b. 1954 Larry Abramson is a South African-born Israeli artist. Born in 1954, Abramson and his family immigrated to Jerusalem in 1961. Shortly after graduating high school, Abramson entered London's Chelsea College of Art and Design in 1973 where he studied a Foundation Course. In 1975, he held his first solo exhibition. Abramson continued to develop his style, combining abstraction and figurative art to create dynamic situations. Upon returning to Israel, he worked as a printer and curator of exhibitions at the Jerusalem Print Workshop until 1986. In 1984, he joined the teaching staff of the Bezalel Academy of Arts and Design in Jerusalem and, in 1992, was appointed head of the Fine Art department. In 1996, he founded and headed the Bezalel Program for Young Artists, the first Master of Fine Arts program in Israel. He served as a guest lecturer at the San Francisco Art Institute in 2000 and 2003. In 2002, Abramson continued to be a leader in art academia by planning the establishment of a new art department at the Shenkar College of Engineering and Design in Ramat Gan, Israel. He is a founding member of Artists Without Walls, a dialogue group of Israeli and Palestinian artists. Throughout his career as an artist, Abramson has been the recipient of numerous awards including the Jacques Ohana Prize, The Minister of Education Culture Prize, and the Mendel and Eva Pundik Prize for Israeli Art. He has shown at prestigious group and solo exhibitions around the world and, in recent years, held two special museum projects, "Searching for the Ideal City" at the Magnes Museum, Berkeley (2005), and "Mini Israel" at the Israel Museum, Jerusalem (2006). Larry Abramson was born in Durban, South Africa. In 1961, he immigrated to Israel with his family and settled in Jerusalem. He studied art with Yona Mach at the Hebrew University High School and devoted much time to painting. In 1970, he signed the High School Seniors Letter protesting the Israel government's foot-dragging on the subject of peace. In the early 1970s, Abramson studied art history at the Hebrew University of Jerusalem and moved to London to continue his art studies, but only remained there for one year. In 1975, he began to work in printmaking. He became an instructor and curator at the Jerusalem Print Workshop and began exhibiting in Jerusalem galleries. In 1984, he began to teach at Bezalel. His work in the 1970s and 80s quoted from art history as a tool for critical reflections on art. This was particularly evident in "Anatomical Painting" (1980-1983), "Nevo" (1984-1986) and "Column" (1988). In 1992, he was elected chairman of the Fine Arts Department of Bezalel. In 1996, he received his professorship. In 1995, he showed his series, Tsooba, which explored the politics of Israeli landscape and aroused great public debate. From the 1990s, he published many essays on the link between art history and the political and social significance of art. Major works from this period include "The Return of the Black Square" and a series of drawings, "The Pile" (2002-2004). Education 1972 Art History, Hebrew University of Jerusalem, Jerusalem 1973 Chelsea School of Art, London, UK 1971 Hebrew University High School, Jerusalem, art with Yona Mach Teaching 1984-92 Bezalel Academy of Art and Design, Jerusalem 1992-96 Bezalel Academy of Art and Design, Jerusalem,Head of Fine Arts Department, 1992-96 Bezalel Academy of Art and Design, Jerusalem, Head of Young Artists Program, 2000-03 San Francisco Art Institute, California, USA, Guest Lecturer, 2002 onwards Shenkar College, Ramat Gan, Professor of Art, Multidisciplinary Art Department, Awards And Prizes 1978 Beatrice Kolliner Prize for a Young Israeli Artist, Israel Museum, Jerusalem 1988 The America-Israel Cultural Fund Scholarship 1991 Jacques and Eugenie Ohana Prize for a Young Israeli Artist, Tel Aviv Museum of Art, Tel Aviv 1993 The America-Israel Cultural Foundation, Sharett Fund Scholarship for a Young Artist 1998 Prize, Ministry of Education and Culture 2007 The Mendel and Eva Pundik Foundation Prize for an Israeli Artist, Tel Aviv Museum of Art, Tel Aviv Genia Schreiber University Art Gallery, Tel Aviv Abramson, Larry Avigdor Arikha, Dei Ben Shaul, David Michail Grobman, Michael Gross, Uri Lifschitz, Ofer Lellouche, Menashe Kadishman, Shaul Schatz and others Sarig - in Israeli Paintings Israel Pollak School of Art Kalisher Five, Art Sc, Tel Aviv Abramson, Larry Menashe Kadishman, Pinchas Cohen Gan, David Reeb, Arnon Ben David...

Georgina Klitgaard Spanish Moss, Georgia Signed lower right Oil on artist's board 12 x 16 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to as...

Harold Barling Town Charlie Chaplin in Sunnyside 1970 Original Lithograph Visible: 19.5 x 14 inches Framed: 26.25 x 20.25 x 1 inches Signed, dated and numbered in pencil along lower edge Edition: 88...

"Woman by Basin" by Philadelphia born modernist and surrealist painter Leon Kelly, is a framed and matted portrait of a female nude. The 22.5" x 17.75" mixed media on artist board i...

Cat is a charcoal drawing realized by Giselle Halff (1899-1971). Good conditions. Giselle Halff (1899-1971) born in Hanoi, student of R.X. Prinet, R. Ménard, L. Simon, B. Boutet de...

Original Lithograph - Henri Matisse - Apollinaire Artist : Henri MATISSE 13 x 10 inches Edition: 151/330 References : Duthuit-Matisse Catalogue raisonné 31 MATISSE'S BIOGRAPHY YOUTH AND EARLY EDUCATION Henri Emile Benoît Matisse was born in a tiny, tumbledown weaver's cottage on the rue du Chêne Arnaud in the textile town of Le Cateau-Cambrésis at eight o'clock in the evening on the last night of the year, 31 December 1869 (Le Cateau-Cambrésis is in the extreme north of France near the Belgian border). The house had two rooms, a beaten earth floor and a leaky roof. Matisse said long afterwards that rain fell through a hole above the bed in which he was born. Matisse’s ancestors had lived in the area for centuries before the convulsive social and industrial upheavals of the nineteenth century. Matisse grew up in a world that was still detaching itself from a way of life in some ways unchanged since Roman times. The coming of the railway had put Bohain on the industrial map, but people still traveled everywhere on foot or horseback. Matisse’s father, Émile Hippolyte Matisse, was a grain merchant whose family were weavers. His mother, Anna Heloise Gerard, was a daughter of a long line of well-to-do tanners. Warmhearted, outgoing, capable and energetic, she was small and sturdily built with the fashionable figure of the period: full breasts and hips, narrow waist, neat ankles and elegant small feet. She had fair skin, broad cheekbones and a wide smile. "My mother had a face with generous features," said her son Henri, who always spoke of her with particular tenderness of the sensitivity. Throughout the forty years of her marriage, she provided unwavering, rocklike support to her husband and her sons. Matisse later said: "My mother loved everything I did." He grew up in nearby Bohain-en-Vermandois, an industrial textile center, until the age of ten, when his father sent him to St. Quentin for lycée. Anna Heloise worked hard. She ran the section of her husband's shop that sold housepaints, making up the customers' orders and advising on color schemes. The colors evidently left a lasting impression on Henri. The artist himself later said he got his color sense from his mother, who was herself an accomplished painter on porcelain, a fashionable art form at the time. Henri was the couple’s first son. The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; in particular, he hated the gelid winters. He was a pensive child and by his own account he was a dreamy, frail and not outstandingly bright. In later life he never lost his feeling for his native soil, for seeds and growing things he had encountered in his youth. The fancy pigeons he kept in Nice more than half a century after he left home recalled the weavers' pigeon-lofts tucked away behind even the humblest house in Bohain. Matisse's childhood memories were of a stern upbringing. "Be quick!" "Look out!" "Run along!" "Get cracking!" were the refrains that rang in his ears as a boy. In later years when survival itself depended on habits of thrift and self-denial, the artist prided himself on being a man of the North. When Matisse in turn had children of his own to bring up, he chided himself for any lapse in discipline or open display of tenderness as weakness on his part. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. Although he considered law as tedious, he nonetheless passed the bar in 1888 with distinction and began his practice begrudgingly. Once Matisse finished school, his father, a much more practical man, arranged for his son to obtain a clerking position at a law office. PAINTING: BEGINNINGS Matisse’s discovery of his true profession came about in an unusual manner. Following an attack of appendicitis, he began to paint in 1889, when his mother had brought him art supplies during the period of convalescence. He said later, “From the moment I held the box of colors in my hands, I knew this was my life. I threw myself into it like a beast that plunges towards the thing it loves.” Matisse’s mother was the first to advise her son not to adhere to the “rules” of art, but rather listen to his own emotions. Matisse was so committed to his art that he later extended a warning to his fiancée, Amélie Parayre, whom he later married: “I love you dearly, mademoiselle; but I shall always love painting more.” Matisse had discovered "a kind of paradise" as he later described it. His drastic change of profession deeply disappointed his father. Two years later in 1891 Matisse returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau. After a discouraging year at the Académie Julian, he left in disgust at the overly perfectionist style of teaching there. Afterwards he trained with Gustave Moreau, an artist who nurtured more progressive leanings. In both studios, as was usual, students drew endless figure studies from life. From Bouguereau, he learned the fundamental lessons of classical painting. His one art-schooled technical standby, almost a fetish, was the plumb line. No matter how odd the angles in any Matisse, the verticals are usually dead true. Moreau was a painter who despised the "art du salon", so Matisse was destined, in a certain sense, to remain an "outcast" of the art world. He initially failed his drawing exam for admission to the École des Beaux-Arts, but persisted and was finally accepted. Matisse began painting still-lives and landscapes in the traditional Flemish style, at which he achieved reasonable proficiency. Most of his early works employ a dark palette and tend to be gloomy. Chardin was one of Matisse's most admired painters having made four the French still-life master paintings in the Louvre. Although he executed numerous copies after the old masters he also studied contemporary art. His first experimentations earned him a reputation as the rebellious member of his studio classes. In 1896, Matisse was elected as an associate member of the Société Nationale, which meant that each year he could show paintings at the Salon de la Société without having to submit them for review. In the same year he exhibited 5 paintings in the salon of the Société Nationale des Beaux-Arts, and the state bought two of his paintings. This was the first and almost only recognition he received in his native country during his lifetime. In 1897 and 1898, he visited the painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Van Gogh who had been a good friend of Russell but was completely unknown at the time. Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained color theory to me." Matisse also observed Russell's and other artists' stable marriages. This probably influenced him to find in Amélie Noellie Parayre, his future wife, his anchor. The Dinner Table (1897) was Matisse’s first masterpiece, and he had spent the entire winter working on the oeuvre. Though the Salon displayed the piece, they hung the work in a poor location, disgusted by what they considered its radical, Impressionist aspects. Caroline Joblaud was Matisse's early lover for four years during his initial struggles to affirm his artistic direction and professional career. Caroline (also called Camille) gave Matisse his first daughter Marguerite in 1894, who after Matisse's marriage to Amélie Noellie Parayre was warmly accepted contrary to conventional hostility such arrangements provoked. Caroline posed various times for the artist’s compositions while Marguerite served many times as a model for Matisse throughout his life. MARRIAGE WITH AMÉLIE NOELLIE PARAYRE The Matisses of Bohain and the Parayres of Beauzelle had outwardly nothing in common, and there was no reason why Matisse and Amélie should ever have met. But in October 1897 Matisse went to a wedding in Paris and happened to sit next to her at the uproarious banquet that followed. There had been no banal flirtation between them, even when the wine flowed, each recognized the other as true metal, and when they got up from the table she held out her hand to Henri Matisse in a way that he never forgot. Matisse at that time was not yet the professorial figure of legend. He was known as a prankster, as a ribald and anti-clerical songster, and as someone who had once broken up a café concert performance just for the hell of it. Amélie's relatives operated at that time within a social, intellectual, and political context of which Matisse had had no previous experience. They stood for free thinking, for the separation of church and state, and for the secularization of the French educational system. Her family, better off that that of Matisse, provided the support he needed for the budding artist. When Matisse married Amélie in January 1898, they had been introduced only three months after. Amélie's Aunt Noélie and two of her brothers ran a successful women's shop called the Grande Maison des Modes. Before her marriage, Amélie had shown a gift for designing, making, and modeling hats for a fashionable clientele. In June 1899, she found a partner and opened a shop of her own on the rue de Châteaudun. This allowed Henri and herself to live, with Marguerite, in a tiny two-room apartment on the same street. Madame Matisse, fervently loyal, would play a fundamental role in the life and career of the artist for more than 40 years. Marguerite was to become her father's lifetime mainstay In 1902 disaster struck. Amélie’s parents were disgraced and financially ruined in a spectacular scandal of national scope, as the unsuspecting employees of a woman whose financial empire was based on fraud. Thanks to his early years in a lawyer's office, Matisse was able to busy himself to great effect in the organization of his father-in-law's defense. When all about him lost their heads, burst into tears, and felt more than sorry for themselves, Henri Matisse dealt with their problems one by one. The ordeal had taken its toll, in more than one way. His doctors ordered Matisse to go to Bohain and take two months' complete rest. Amélie had lost both her hat shop and the apartment on the rue de Châteaudun. For the first time, Henri, Amélie and the three children were united in Bohain, having nowhere else to go. Hillary Spurling, one of Matisse’s biographers, asserts that Amélie’s memories of that public disgrace nurtured a “suspicion of the outside world” that would always mark the Matisse family. The Matisse family formed a kind of hermetic unit which revolved around the artist’s work and profession. They fitted their activities according his breaks and work sessions. Silence was essential. Even during the years when Matisse lived mostly alone in Nice, an annual ritual of unpacking, stretching, framing and hanging ended with the whole family settling down to respond to the paintings. The conference might last several days. Then the dealers were admitted. Matisse and his wife had had two sons, Jean (born 1899) and Pierre (born 1900). He was not always in peace with his family. He wrote that their views were not always in accord “which disturbs me considerably in my work, for which I require the most complete calm and from those how surround me, a serenity that I cannot find here. I intend to move to a village a few league away.” Pierre, his brother, Jean, and Marguerite remained close to their father through every vicissitude, and Matisse, in his last invalid years, was devoted to his several grandchildren. In 1899, at a time when his paintings displayed rebellious talent but not much clear direction, Matisse began attending classes in clay modeling and sculpture. Assigned to copy one of the sculptural masterpieces in the Louvre, he selected Jaguar Devouring a Hare a violently precise work by Antoine-Louis Barye. Later, whenever his paintings seemed stuck, he turned to sculpture to organize his thoughts and sensations. Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, Matisse made color a crucial element of his paintings. Matisse said, "In modern art, it is indubitably to Cézanne that I owe the most." By studying Cézanne’s fragmented planes -- which stretched the idea of the still life to a forced contemplation of color surfaces themselves -- Matisse was able to reconstruct his own philosophy of the still life. Many of his paintings from 1899 to 1905 make use of a pointillist technique adopted from Signac. In 1898, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. After years in poverty, Matisse went through his "dark period" (1902-03), moved briefly to naturalism, went back to a dark palette and told friends in 1903 that he had lost all desire to paint and had almost decided to give up. Fortunately, Matisse was able to earn some money painting a frieze for the World Fair at the Grand Palais in Paris. He also traveled extensively in the early 1900s when tourism was still a new idea. Brought on by railroad, steamships, and other forms of transportation that appeared during the industrial revolution, travel became a popular pursuit. As a cultured tourist, he developed his art with regular doses of travel. FAUVISM Matisse's career can be divided into several periods that changed stylistically, but his underlying aim always remained the same: to discover "the essential character of things" and to produce an art "of balance, purity, and serenity," as he himself put it. The changing studio environments seemed always to have had a significant effect on the style of his work. In these first years of struggle Matisse set his revolutionary artistic agenda. He disregarded perspective, abolished shadows, repudiating the academic distinction between line and color. He was attempting to overturn a way of seeing evolved and accepted by the Western world for centuries by substituting a conscious subjectivity in the place of the traditional illusion of objectivity . Matisse hit his stride in the avant-garde art world in the first years of the new decade. He explored the modern art scene through frequent visits to galleries such as Durand-Ruel and Vollard, where he was exposed to work by Paul Cézanne, Paul Gauguin, and Vincent van Gogh. Matisse’s first solo exhibition took place in 1904, without much success. In 16 May 1905 he arrived in the charming Catalan port of Collioure, in the south of France. He soon invited the painter André Derain (1880-1954), 11 years his junior, to join him. By 1905, Matisse was considered spearhead the Fauve movement in France, characterized by its spontaneity and roughness of execution as well as use of raw color straight from the palette to the canvas. Matisse combined pointillist color and Cézanne’s way of structuring pictorial space stroke by stroke to develop Fauvism - a way less of seeing the world than of feeling it with one’s eyes. When the Fauve summer drew to an end, Derain left Collioure with 30 paintings, 20 drawings and some 50 sketches, never to return, while Matisse departed some days later bringing back to Paris 15 finished paintings, 40 aquarelles, over 100 drawings. He returned Collioure in the summers of 1906, 1907, 1911 and 1914. The lure of the sun would prove always to have powers of restoration to the artist throughout his life particularly after periods of great emotional exertion. When Fauvist works were first exhibited Salon d'Automne in Paris they created a scandal. Eyewitness accounts tell of laughter emanating from room VII where they were displayed. Gertrud Stein, one of Matisse's most important future supporters, reported that people scratched at the canvases in derision. "A pot of paint has been flung in the face of the public" was the reaction by the critic Camille Mauclair. Louis Vauxcelles described the work with the historic phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Derain himself later called the Fauves' color "sticks of dynamite." The painting that was singled out for attacks was Matisse's Woman with a Hat, a portrait of Madame Matisse. This picture was bought be was bought by Gertrude and Leo Stein, a fact which had a very positive effect on Matisse who was suffering demoralization from the bad reception of his work. Matisse continued his experiments in Collioure, visible in the painting The Open Window and the View of Collioure , also a characteristic work of Fauvism in its raw color and disregard for details. Both of these works of the landscape in the French Mediterranean present a distinct development towards the spontaneous and uninhibited style. Other than André Derain, Georges Braque, Raoul Dufy and Maurice Vlaminck were also members of the Fauve movement. However, Matisse’s intimate friends among artists were mostly easygoing minor painters, such as Albert Marquet. Matisse’s temperamental aloneness made him prey to vertiginous depressions. He later recalled a breakdown that he underwent in Spain, in 1910: “My bed shook, and from my throat came a little high-pitched cry that I could not stop.” From the onset of is career women were from one of the cardinal motifs of the artist's production. His Joy of Life (1906) draws us into the world of hallucinatory vividness composed of nymphs set in an idyllic open fields dressed in pure color and sensual outline. Two women lounge in the sunlight while two more chat on the edge of the forest. One crouches to pick some flowers while her companion weaves a chain of them into her hair. A couple embraces each other while another group engages in a lively round-dance in the distance. In this way, Joy of Life depicts woodland nymphs engaging in a celebration of their life, their womanhood, and their sexuality. Due to the recurrent incidence of nude women and intensely sensual interpretation many observers have assumed that as a man Matisse must have been a hedonist. On the contrary, historic examination demonstrates that in reality, he was rather a self-abnegating Northerner who lived only to work, and did so in chronic anguish, recurrent panic, and amid periodic breakdowns. While Picasso recompensed himself, as he went along, with gratifications of intellectual and erotic play Matisse did not. In an age of ideologies, Matisse dodged all ideas except perhaps one: that art is life by other means. Matisse’s uninhibited celebration of women is often believed to have initiated from Cézanne’s painting Three Bathers (1882) (which he had acquired for himself along with a Van Gogh and a Gauguin). However, Matisse depicts women as nurturing, welcoming, and unlike the forbidding, massive clay-like presence of those of Paul Cézanne. FAME The decline of the Fauvist movement, after 1906, did nothing to deter the rise of Matisse. From 1906 -1917 he lived in Paris and established his home, studio, and school at Hôtel Biron. Among his neighbors is sculptor Auguste Rodin, writer Jean Cocteau, and dancer Isadora Duncan. Many of his finest works were created in this period, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in with his conservative appearance and strict bourgeois work habits. In fact, the aim of Matisse’s art was something less than revolutionary. In 1908, in a famous statement drawn from “Notes of a Painter,” Matisse declared as his ideal an art “for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.” Matisse's personal habits were incredibly regular. On a typical day rose early and worked all morning with a second work session after lunch, followed by violin practice, a simple supper (vegetable soup, two hard-boiled eggs, salad and a glass of wine) and an early bedtime. In 1906, he created a series of 12 lithographs, all variations on the theme of a seated nude. He chose to share his graphic work with the public almost immediately. The lithographs were exhibited at the Druet Gallery in Paris the same year that they were produced, and the woodcuts were shown at the Salon des Independants in the spring of 1907. In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." Notwithstanding newly-won fame, Matisse's work continued to encounter vehement criticism and it was difficult for him to provide for his family. His controversial 1907 painting Blue Nude was burned in effigy at the Armory Show in Chicago in 1913. Contrary to the fate of the Impressionists, Matisse and other Fauves were able to exhibit in art galleries. In 1908 Paul Cassirer, the German art dealer and editor who played a significant role in the promotion of the work the French Impressionists and Post-Impressionists, staged an exhibit of Matisse’s works in Berlin. In the same year the American photographer Alfred Stieglitz in New York organized him one-man show in his tiny Manhattan gallery called 291 which effectively introduced Matisse the powerful American art market. In the first decade of his notoriety as the leader of the Fauves, Matisse was more admired by foreigners than by the French. It was, after all, the Russians and the Americans who acquired significant collections of his early work almost as quickly as it was created. The great Matisses we see in the Paris museums today were mostly acquired after the artist's death in lieu of death duties. It took the French a good deal longer to understand Matisse's greatness-longer, certainly, than the international cadre of aspiring talents that flocked to his classes when he was still one of the most controversial figures in the Paris avant-garde. In the summer of 1907, Matisse and his wife went on a long trip to italy "for work and Pleasure," visiting Venice and Padua, where they admired Giotto's frescos. In Florence the were the guests of the Steins in their villa in Fiesole. From this base matisse visited Arezzo, to study Piero della Francesca, and Siena, attracted by the early Sienese painters, especially, Duccio. PICASSO, GERTRUDE STEIN AND THE CONE SISTERS During the first decade of the 20th century Americans in Paris Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah took keen interest in Matisse's art. In addition, Gertrude Stein's two friends from Baltimore. Clarabel and Etta Cone, became major patrons of Matisse and Picasso, collecting hundreds of their works.The Cone Sisters acquired their first Matisse in 1906 and, during the next four decades, went on to form one of the world's great collections of his art. The Cone Collection not only contains major works from every phase of Matisse's long career but reflects the sisters' special interest in his Nice period, when a new complexity of form and psychology entered the ever intense surface allure of his paintings. In April of 1906 during a gathering at the house of the legendary Gertrude Stein, Matisse was introduced to Pablo Picasso who was 11 years younger. Picasso and Matisse were poles apart aesthetically and their life styles were no less so. Matisse was markedly taller and more polished than the stocky, cocky Catalan, was then ruler of the turbulent Paris avant-garde art scene. The two were said to have always been looking over their shoulders at each other. It is well-known that after their rivalry grew, sides were taken. Picasso later said: "No one has ever looked at Matisse's paintings more carefully than I; and no one has looked at mine more carefully than he." One key difference between their pictorial concepts was that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lives, with Matisse more likely to place his figures in fully realized interiors. Gertrude Stein, who loved stirring things up, wrote, "the feeling between the Picassoites and the Matisse-ites became bitter." Although Matisse dryly noted that "our disputes were always friendly," it should be pointed out that Picasso and his friends threw suction-cupped darts at Matisse's 1906 Portrait of Marguerite (which Picasso had obtained in a trade for his own Pitcher, Bowl and Lemon, from 1907). While the rift between the two artists eventually healed, the one between their supporters remained. ACADEMIE MATISSE IN PARIS & SERGEI SHCHUKIN In 1909, with the Matisse family lived in a former convent on the Boulevard des Invalides, in Paris, where the artist conducted a painting school. His immense notoriety, which had been confirmed in 1905-06 by Joy of Life, a work which seemed to trash every possible norm of pictorial order and painterly finesse.His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1911 until 1917. Hans Purrmann and Sarah Stein were several of his most loyal students. Although it lasted for only three years (1908-11), and yet, during its brief existence the Académie Matisse became one of the principal crossroads of modern painting for a number of gifted European and American artists. Given the reputation Matisse had acquired as the"wild man" of modernist color, it must have come as a shock to some of his early students that the program of instruction he offered was remarkably conservative. As Jean Heiberg, the first Norwegian to enroll in the Académie, later wrote in a memoir: "The school had, at Matisse's suggestion, acquired a copy of two antique sculptures from the Louvre, Mars and an archaic sculpture, which he often used to demonstrate. Every now and then he got completely rid of the life model and we only drew from the plaster casts, and his critiques then were no less profitable." Among Matisse’s students was Olga Meerson, a Russian Jew who had studied with Wassily Kandinsky in Munich and, already possessed of an elegant style, sought to remake herself under Matisse’s tutelage. Amélie suspected the worst. Perhaps a combination of Amélie’s jealousy and Meerson’s neediness caused a Matisse to end the connection, with bad feeling all around. Meerson moved to Munich, where she married the musician Heinz Pringsheim, a brother-in-law of Thomas Mann. Never having fulfilled her promise as a painter, she committed suicide in Berlin, in 1929. One of Matisse's biographers, with access to much of the artist's correspondence, contends that the artist, after his marriage, rarely, if ever, had sex with models, despite his apparent feelings for many. Two Russian art collectors stood out at the beginning of the 20th century: the cloth merchant Sergei Shchukin (1854–1936) and the textile manufacturer Ivan Morozov (1871–1921). Both acquired modern French art, developed a sensibility for spotting new trends, and publicized them in Russia. In this period, Matisse had initiated his fecund association with the Russian textile magnate and visionary collector, Sergei Shchukin. The artist created one of his major works La Danse specially for Shchukin as part of a two painting commission. Inspired by a circular dance-- perhaps a sardana - performed by fishermen at Collioure, this painting embodies the clash between the sacred and reality. Human hands link together, but they form a divine spirit. Moreover, Matisse all but abandoned perspective The work ’s flatness emphasizes the idea, colors, and material, a notion that made Matisse a model for Modernists. The other painting commissioned was Music, 1909. Shchukin was considered by some almost as a co-producer of some of the artist’s greatest works and was strongly commuted to the French painter’s work. Concerning the violent attacks on his friend, the Russian wrote to the artist: “The public is against you, but the future is yours.” By 1914 Shchukin’s house in Moscow contained thirty-seven Matisses. “He always picked the best,” the artist said. During the political revolution Lenin expropriated Shchukin collection in person but allowed Shchukin to remain, in servants’ quarters, as caretaker and guide. He died in Paris, in 1936. The collection is now in the Hermitage and Pushkin Museums From about 1911 to 1915, Matisse struggled with the ideas of Cubism, an experiment he felt he was "not participating in" because it did not "speak to [his] deeply sensory nature." MOROCCO Like many avant-garde artists in Paris, Matisse was receptive to a broad range of influences. He is one of the first painters to take an interest in various forms of “primitive” art. His art was profoundly influenced by Easter art as well. Matisse first flirted with the idea of visiting Morocco after a trip to the Moorish part of Spain in the winter of 1910. This taste of the Moors incited a flame of hope that there would be greater inspiration to paint in Morocco. Furthermore, well aware of the exotic subjects in Morocco that had engendered a wealth of inspiration for the famous French painter Delacroix when he visited the country over eighty years before, Matisse felt Morocco would stimulate his painting genius in ways Europe could not. He strove for neither the picturesque nor the pornographic. In Morocco, Matisse seems to have had difficulties finding models who would pose for him, particularly women because of the law of the veil. Only Jewesses and prostitutes were exempt. Luckily, Matisse to have found the prostitute Zorah for the purpose although he did not paint her as a prostitute. Instead, in his first picture of her, Zorah en Jaune, sexual themes are most conspicuously absent from the canvas. As a prostitute used to exposing and flaunting her body, Zorah could have easily been painted nude or with less clothing to show herself off, but instead Matisse chooses to keep her clothed and posed with prudence. Unlike the primitive, nude Western women in the Fauve Joy of Life. Moroccan Zorah is clothed with respect and detail to her finer characteristics. He is developing his ability to paint with awareness of the non-sexual qualities of his subject, a movement away from Fauve women. Many of Matisse's Moroccan paintings are covered only in the thinnest washes of pigment, as if he wanted the texture of the unpainted canvas to show through so that it would add rawness to the browns and grays. Matisse's odalisques have been described as "elaborate fictions" in which the artist re-created the image of the Islamic harem using French models posed in his Nice apartment. The fabrics, screens, carpets, furnishings and costuming recalled the exoticism of the "Orient" and provided a theme for Matisse's preoccupation with the figure and elaborate patterns of exotic fabrics. Although Matisse's interest in textiles are evident in his compositions made during his 1906 trip to Morocco, it didn't begin as a typical European attraction to the exotic. It was already present to him as a descendent of generations of weavers, who was raised among weavers in Bohain-en-Vermandois, which in the 1880's and 90's was a center of production of fancy silks for the Parisian fashion houses. Like virtually all his northern compatriots, he had an inborn appreciation of their texture and design. He understood the properties of weight and hang, he knew how to use pins and paper patterns, and he was supremely confident with scissors. Matisse was known to be an avid collector of fabrics, from his days as a poor art student in Paris to the latter years of his life, when his Nice studio overflowed with Persian carpets, delicate Arab embroideries, richly hued African wall hangings, and any number of colorful cushions, curtains, costumes, patterned screens, and backcloths. Textiles soon became the springboard for his radical experiments with perspective and an art based on decorative patterning and pure harmonies of color and line. When he moved house, he also moved his fabrics, describing them as "my working library." He added to the collection all his life, from markets in Algeria, Morocco and Tahiti to the end-of-season sales of Parisian haute couture. The revitalizing spirit of Morocco would live on in the artist's imagination until the cutouts of the artist's last years. AFTER PARIS Matisse continued to evolve in unexpected directions even though never became an abstract painter (though some of his most adventurous works, such as the View of Notre Dame of 1914 or the Yellow Curtain of 1916 come close). His motifs were always recognizable, and the tension between the subject and the formal aspects of the painting was a central concept of his artistic ideal. Matisse moved to Nice in 1917 to distance himself from wartime activity, where bright, warm colors showed him "simpler venues which won’t stifle the spirit." His spirit became loyal to the "silver clarity of light" in Nice, and he returned to Paris only for a few months each summer. The years 1917–30 are known as his early Nice period, when his principal subject remained the female figure or an odalisque dressed in oriental costume or in various stages of undress, depicted as standing, seated, or reclining in a luxurious, exotic interior of Matisse's own creation. These paintings are infused with southern light, bright colors, and a profusion of decorative patterns. They emanate the atmosphere suggestive of a harem. In 1929, Matisse temporarily suspended easel painting and traveled to America to sit on the jury of the 29th Carnegie International and, in 1930, spent some time in Tahiti and New York as well as Baltimore, Maryland and Merion, Pennsylvania.He was especially thrilled with New York. An important collector of modern art, and owner of the largest Matisse holdings in America, Dr. Albert Barnes of Merion, commissioned the artist to paint a large mural for the two-story picture gallery of his mansion. Matisse chose the subject of the dance, a theme that had preoccupied him since his early Fauve masterpiece Joy of Life. Americans were prominent among Matisse's patrons throughout his career, beginning with the Steins (Leo Stein bought Joy of Life right out of the Salon in 1906) and including the Cone sisters of Baltimore and the notoriously cantankerous Barnes. The foundational Matisse monograph was written during his lifetime by another American, Alfred Barr. Also important in promoting Matisse's presence before the transatlantic public was the Manhattan gallery founded in 1931 by the artist's son, Pierre, who remained a prominent figure in the New York art world for almost six decades. In addition to his father, he represented Balthus, Calder, Dubuffet, Giacometti, Miro, Tanguy and others, many of them also friends. Throughout his long and productive career, Matisse periodically refreshed his creative energies by turning from painting to drawing, sculpture and other forms of artistic expression. In his lifetime he also produced 12 illustrated books which were known as “livre d’artiste” (artist’s book), a specific type of illustrated book that became common in France around the turn of the century. These books were deluxe, limited editions, meant to be collected and admired as works of art, as well as, read. This process began when Swiss publisher Albert Skira first approached the modern master in 1930 to illustrate the work, Poesies, by 19th century French symbolist poet Stéphane Mallarmé . Matisse responded to Skira’s invitation with great enthusiasm and that summer, devoted most of his attention to the commission while he was residing in Paris. The result was a collection of 29 beautiful etchings, of which the Museum will display 16. The subject matter, like the poems themselves, varies considerably, although many of the images reflect the artist’s vacation to the South Pacific. Matisse’s etchings of Mallarmé’s poems are considered among his greatest works in the print medium. In 1941, again for Skira, Matisse began one of his most complicated and successful printmaking projects, Florilege des Amours de Ronsard, illustrating the love poems of 16th century French Renaissance poet Pierre de Ronsard. Ronsard’s subject and strong imagery lent themselves gracefully to Matisse’s favored themes of fruits, flowers, the female form and portraits. The artist selected the poems himself and translated the work from Renaissance French to contemporary French for the publication of the anthology DIVORCE & LATE FAMILY RELATIONSHIPS For all his long-lasting friendships with other artists, famous and obscure, Matisse's days and nights were absorbed by solitary labor. Playing the violin seemed a more intimate consolation for decades of critical abuse than the affections of his wife and children. Although their marriage was still somewhat fragile, the Matisses had decided to stay on in Nice when their lease expired at Place Charles-Félix in the summer of 1938. Matisse and his wife were separated in 1939 after 41 years when Amélie tried to dismiss the coolly efficient young Lydia Delectorskaya, an orphan refugee from Siberia, who had been hired as Amélie’s companion. However, the Matisses’ marriage ran afoul not of any romantic rival but for the artist’s wish to stand on his own. The first climax came years before in 1913, when Amélie sat more than a hundred times for the Portrait of Madame Matisse. A friend’s diary reported at the time. “Crazy! weeping! By night he recites the Lord’s Prayer! By day he quarrels with his wife!” The portrait, which was the last work to enter Shchukin’s collection, caused Matisse “palpitations, high blood pressure and a constant drumming in his ears.” Such frenzy was not rare when Matisse had difficulty with a painting. He referred to the painting years later in a letter to her as “the one that made you cry, but in which you look so pretty.” Amélie ceded routine leadership of the family to Marguerite. The 1913 portrait was his last painting of her. Matisse and his wife met the last time to discuss details of their legal separation, in July 1939. One of its key provisions was that everything would be divided equally between the couple. The meeting took place in Paris at the Gare St. Lazare and lasted thirty minutes, during which Amélie Matisse kept up a flow of small talk while her husband."My wife never looked at me, but I didn't take my eyes off her...," Matisse wrote on the night of that final encounter: "I couldn't get a word out.... I remained as if carved out of wood, swearing never to be caught that way again." "I'm going to try to isolate myself as if I were still absent,'' Matisse announced on his first return to Paris since the official separation from his wife, 'rarely leaving his apartment except for visits to the cinema (his first color film, starring Danny Kaye, was a revelation).'' After her dismissal, Delectorskaya shot herself in the chest with a pistol, remarkably with only a slight effect. Soon after the artist and his wife were legally separated Delectorskaya was back. She arrived with a bouquet of white daisies and blue cornflowers from her Aunt’s garden on July 15th, St Henry’s Day. Their working collaboration was to last right up to Matisse’s death in 1954. Her will throughout was indomitable; she typed, kept records and meticulous accounts and paid the household bills. She also organized Matisse’s correspondence and coordinated his business affairs with an iron grip as well as being his studio assistant and muse. And when called upon, even scoured the countryside on her bike for provisions during the war. Matisse claimed that his entire household came to a standstill in her absence which, in the light of what Lydia accomplished is anything, if not an understatement. In the face of the family’s icy resentment, the Russian said of Matisse, “He knew how to take possession of people and make them feel they were indispensable. That was how it was for me, and that was how it had been for Mme. Matisse.” Life with Matisse must have been taxing but it had been Amélie’s chosen vocation, through years of their studio-centered homes. Her central role in the artist's life was security, which Shchukin’s patronage provided, along with a sizable house in Issy-les-Moulineaux, where the family moved in 1909. However, in this period Matisse was increasingly absent. In 1930, his travels took him to the United States, where he was thrilled by New York, and to Tahiti. Matisse found that Tahiti was "both superb and boring . . . There the weather is beautiful at sunrise and it does not change until night. Such immutable happiness is tiring." He dived off the reefs and never forgot the colors of the madrepores and the absinthe-green water; these appear in cut-outs like Polynesia, 1946, or The Bird and the Shark, 1947, as images of a spectacular and, on the whole, beneficent nature. In September of 1940 he employed a temporary stand-in for his regular night nurse...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with publisher’s folds, as issued. Notes: From the volume, Verve: Revue Artistiqu...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, Verve: Revue Artistique et Li...

Antique American modernist abstract oil painting by Eugene Arcieri (1914 - 2005). Oil on board. Framed. Signed. Measuring 15 by 19 inches overall and 14 by 18 painting alone. In exce...

"Sade Ade" by Express Newspapers Nigerian-born British singer and songwriter Sade (Helen Folasade). Unframed Paper Size: 24"x 20'' (inches) Printed 2022 Silver Gelatin Fibre Print

Artist: Marc Chagall (after) Title: Avenue De La Victoire at Nice Portfolio: Nice and the Cote d'Azur Medium: Lithograph Date: 1967 Edition: Unsigned and unnumbered proof (aside from...

Athena Goddess - Antiquities of Herculaneum Exposed from the series "Antiquities of Herculaneum", is an original etching on paper realized by Filippo Morghen in the 18th Century. ...

Zena Kavin, 'Victim of Misfortune and Folly, lithograph, c. 1935, edition 20. Signed, titled, and numbered '17/20' in pencil. A fine, richly-inked impression, on cream wove paper, wi...

Bibi Valentin. 1859. Etching and drypoint. Kennedy catalog 50 state ii; Glasgow catalog 34 state ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. Housed in a 20 x 16-inch archival mat A young girl, sits facing the viewer, leaning on her left elbow, legs extended to left. She wears a high-necked smock and buttoned boots...

CZ by the Pool 1955 by Slim Aarons Slim Aarons Limited Estate Edition American socialite Mrs. Winston F. C. Guest (aka CZ Guest, 1920 – 2003) perches on the edge of the Grecian te...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with spine-fold, as issued. Notes: From the volume, Verve: Revue ...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. Signed & Dated Lower Right. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame size 34.4 inches x 28.1 inches ( 87.5cm x 71.5cm ). Available for sale; this original painting is by Dame Elisabeth Frink and is dated 1969. The painting is presented and supplied in a glazed frame and mount dating from June 1997. This vintage watercolor is in very good condition, commensurate with its age. The watercolor is signed and dated lower right. Previously with Beaux Arts, London and Bath in 1999. Dame Elisabeth Frink was one of Britain’s most important post-war sculptors, an accomplished draughtsman, illustrator and teacher. She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. Frink produced many notable public commissions, including Wild Boar for Harlow New Town, Blind Beggar and Dog for Bethnal Green, Noble Horse and Rider for Piccadilly, London, a lectern for Coventry Cathedral, Shepherd for Paternoster Square beside St. Paul’s Cathedral and a Walking Madonna for Salisbury Cathedral. In the early 1980s she produced a set of three larger than life figures The Dorset Martyrs which stand on the edge of the old walled town of Dorchester on the site of the old gallows, as a memorial to those who had been executed there ‘for conscience sake’. Frink’s Canterbury Tales was a collection of 19 etchings drawn directly on to copper plates and etched by her. The ‘book’ was issued in three limited editions. Her illustrations have been praised as “amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour”. She illustrated other books with colored lithographs or drawings. Frink was on the Board of Trustees, British Museum from 1976, and was a member of the Royal Fine Art Commission 1976-81. CBR (1969), DBE ((1982), Associate of the Royal Academy (1971), Royal Academy (1977). She was made a Companion of Honour in 1992. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. For several decades Frink exhibited widely in the UK and abroad. In her later years she lived and worked in Dorset where her home and garden became an arena for her work. In 1985 she had a retrospective at the Royal Academy. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. There was a memorial show at Yorkshire Sculpture Park, Bretton Hall in 1994. Today Frink is venerated as one of the great twentieth century British sculptors. Her unique work is represented in the Tate Gallery and major public and private collections world-wide. © Big Sky Fine Art This original watercolor on paper painting of a hawk by Dame Elizabeth Frink...

The Endeavour. c.1935. Pencil and watercolor on watercolor board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a subtle 23 1/2 x 36-inch light ...

Alington in Wiltshire (The First Swallow). 1927. Etching. Garton 2.iv. 6 3/4 x 8 7/8 (sheet 10 1/2 x 13 1/2). Final state published by in an editon of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 40 in 1927). In states iii and iv, the swallow of the title was removed. In state iv, the sky was re-etched and the cross-hatching was slightly finer. Signed in pencil. Garton writes, page 11: "The design was based on the Anglican chapel-of-ease is the farmyard of Bulisge at Allinston near Chippenham....The print was originally entitled The First Swallow, but the swallow was burnished out before the 1927 edition....Fifty years later new work was effected in the worn-out areas of the sky and distance to produce prints which, in his opinion, were better than those of the original edition." Robin Tanner was an English artist, etcher, and printmaker. He followed the visionary tradition of Samuel Palmer and English neo-romanticism. His etchings began following night-school classes at Goldsmiths College, London. He had been inspired by the major Samuel Palmer retrospective exhibition organized by Martin Hardie...

"Couple in the Fields, with a Cherub Crowned with Flowers" is an etching from Picasso's 347 Series, with an image size of 12.75 x 12.25 inches, signed 'Picasso' lower right and frame...

The Deer is an aquatint and drypoint print on chine from one of the deluxe copies of Picasso's 1942 Histoire Naturelle - Textes de Buffon series. The image size is 10.5 x 8.15 inches, unsigned as issued, and framed in a contemporary silver and gray moulding. One of about 36 prints that exist with Picasso's remarqued title in French, from the edition of 262 (there were 226 portfolios, some with additional sets on varying papers). Catalogue - Cramer #37 The exceptional etchings from Picasso’s Histoire Naturelle – Textes de Buffon are a masterful combination of sugar-lift aquatint and drypoint, showcasing a full range of gray tonalities. The etchings of animals, birds and insects are considered some of the most beautiful and most unusual examples of Picasso’s graphic work. Roger Lacourière, Picasso’s master printer, pulled the prints for each etching between 1939-1942. It was Lacourière who taught Picasso the sugar-lift aquatint technique which allowed him to mimic the effect of brushstrokes in these etched images. Picasso first explored the technique in his plates for the Vollard Suite, but it was in the creation of the Buffon images that he fully realized its stunning, painterly potential. For the edition, 226 portfolios were produced with the first thirty-six counting as deluxe compilations. These rare deluxe sets were on diverse papers (chine, japon or vergé ancien) and each included a complete additional suite showing Picasso’s title remarques along the bottom. As such, the remarqued versions of the prints are quite rare with just thirty-six of each produced for the edition (with the exception of The Wolf which is never remarqued – the image always fills the entire etching plate). These prints are based on the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon, who extensively documented the natural world in his monumental work Histoire Naturelle. Picasso’s association with the project to illustrate parts of the Buffon came during a tumultuous time in European history – the prelude to, and early years of, World War II. As the continent was ravaged, Picasso lived through the disaster in Paris, which the Germans occupied in 1940. These prints could be seen as a political statement – Picasso channeling his artistic expression into a form of resistance art...

'Skiing Holiday' SLIM AARONS ESTATE Print Giant Estate Stamped Limited Edition Print by Slim Aarons American political novelist William F Buckley Jnr takes a break from skiing ne...

Faces is a linocut realized by Mino Maccari in the 1940s. 50 x 30 cm. Handisigned in the lower right part. Edition of 12 copies. Reference; Cat. Meloni , pag 367, n.1741. Good c...

"Marilyn Candid Moment" by Ed Feingersh NEW YORK - MARCH 1955: Actress Marilyn Monroe reads the book "To the Actor: On the Technique of Acting" by Michael Chekhov in a quiet moment at the Ambassador...

Inauguration of the Science Palace in Rome is a vintage photograph in black and white realized in the 1950s. Good conditions.

"Audrey Hepburn" by Bert Hardy May 1950: Belgian-born US actress Audrey Hepburn (1929 - 1993) in Kew Gardens. She is on a break from rehearsals in the London revue 'Sauce'. Original...

Bermuda Street Scene 1967 by Slim Aarons Slim Aarons Limited Estate Edition Bicycles, motorcycles, and cars on a street in Bermuda, June 1967. unframed c type print printed 2023 ...

Thomas Hart Benton Self Portrait 1972 Lithograph Image Size: 19.5 x 13.75 inches Matted Size: 28.5 x 22.25 inches Edition: 300 Signed by hand, lower right COA provided Ref.: Fath, 84...

Subirachs, Jose Maria. original pencil drawing Josep Maria Subirachs i Sitjar (Barcelona, ​​March 11, 1927-ibidem, April 7, 2014)1 was a Spanish sculptor, painter, engraver, set desi...

This artwork "Market Scene" 1968 is an oil painting on canvas by noted Haitian artist Petion Savain, 1906-1973. It is signed and dated at the lower right...

Ted Hinrichs Vehement Acrylic on Canvas Year: 2021 Size: 48x40in Framed: 50x42x2.5in Signed by hand COA provided Ref.: 24802-1716 *Framed in black Wood ...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, richly-inked impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

Espiral Dos & Espiral Diptych, by Ricky Cohete From the series "Espiral" Overall size: 30 in H x 40 in W. Individual size: 30 in H x 20 in W. Edition of 13 + 1AP Unframed 2021 All p...

PABLO PICASSO (1881-1973) Chouette (A. R. 604) Terre de faïence vase, 1969, numbered 135/250, incised 'Edition Picasso' and 'Madoura', partially glazed and painted, with the Editio...

Edge - an original oil painting by Charlie Baird depicting a West Country landscape beneath a vast blue sky with ascending darkness. Multi-layered, detailed oil painting. Charlie Bai...