Modern Art

Signed by artist "M. O'KEEFE 2013" at lower left. Media is graphite on clay-coated panel. Overall dimensions including the frame are 18 x 15 inches.

“You Wanted Something...”, 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing 5.5 x 3 x 3 inches. “You wanted something..” You wanted something ...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Boy, 2023 by Ricky Cohete Archival pigment print Image size: 36 in H x 24 in W. Edition of 10 + 1AP Unframed _________________________ Ricky Cohete was born in a coastal city in Ec...

Untitled Pastel on paper, 1922 Initialed lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Condition: Excell...

Mary Illen Ft. Worth, TX by John Stryker is a 10 x 8 inch silver gelatin print. This photograph is signed in ink on print recto and titled in pencil on print verso. This photograph features a cowgirl riding a light colored horse, resting at a river. The horse reaches down to the water for a drink, while the woman looks down lovingly at the horse. John Stryker was born in Rockford, Illinois, September 1, 1883. He is most remembered for his body of photographs he took of the "Olympic of Western sport"*- the Rodeo. During his lifetime he crossed America, working rodeos as an announcer, a producer, promoter and sometimes a rider. He invented the chute that the animals come out of and he developed new ways of photographing action during an event. Dramatic shots were taken from the ground, propping his camera on the toe of his right boot right next to a bucking bronco. Some historians believe that John Stryker was directly responsible for the growth and sophistication of the sport. His negatives are in the collection of the University of Texas at Permian Basin, Odessa. His photographs have been exhibited during his lifetime at the Buffalo Bill Museum in Cody, Wyoming, and the Amon Carter Museum in Ft. Worth, Texas. His photographs have been published widely including Life, Look, The Cattleman, The Western Horseman, and The Quarter Horse Journal. In 1977, The Rodeo of John Addison Stryker...

Brooklyn Waterfront Lithograph, 1931 Signed, titled, and dated in pencil by the artist Edition: Undetermined (very small), plus artist's proofs Printed by Meister Schulz, Berlin Provenance: Estate of the artist Virginia Dehn, the artist's widow Dehn Quests Bibliography: Lumsdaine and O'Sullivan 152 Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression) Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...

“Here I Learn..”, 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing 4 x 3 x 3 inches. “Here I learn..” Here I learn the smallest of sounds beco...

Masami Iwata, 'Flowers and Ko-Imari', color woodblock print, c. 1960, edition 250. Signed, and with the artist’s seal, lower right. A fine, painterly impression, with fresh colors, o...

Etching, relief and engraving in colours, 1983, on light mauve TGL handmade paper with their blindstamp lower centre, signed and dated in pencil, numbered from the edition of 5, publ...

Desierto 2, 2023 by Ricky Cohete Archival pigment print Image size: 36 in H x 24 in W. Edition of 10 + 1AP Unframed _________________________ Ricky Cohete was born in a coastal cit...

Paris, 2023 by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecuado...

Symposium by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecuador,...

Rider, 2023 by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecuado...

Untitled Diptych, painting by Suzanne Law. Framed Overall size: Image size: 12.6 in. H x 34.2 in W Frame size: 18.1 in. H x 44.8 in W x 1 in D Individual size: Image size: 12.6 in. ...

Rémy Duval, 'Street Scene, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives pape...

Signed lower right: Will Barnet; on verso (photo available): Will Barnet / Aug 1963

Red Grooms Masters at the Met, 2002 color lithograph, edition of 75 29 3/4 x 35 in. / 75.6 x 88.9 cm Red Grooms was born in Nashville, Tennessee in 1937 and has lived in New York fo...

Fritz Eichenberg, 'The Pimp', wood engraving, 1980, artist's proof before the edition. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 3/16 to 3 1/2 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 x 9 3/4 inches (305 x 248 mm); sheet size 18 x 14 inches (457 x 356 mm). ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

“The Rush of Love..” 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing 4 x 3 x 3 inches. “The rush of love...” The rush of love. The sweetness ...

Frida Painting "The Two Fridas" by Nickolas Muray depicts Frida Kahlo sitting in her art studio. She holds a paint palette and brush, in front of her unfinished painting, "The Two Fridas", 1939. Frida Painting "The Two Fridas" by Nickolas Muray is a 12.25 x 12.25 inch giclee print, with the paper size measuring 22 x 17 inches. It is available in an edition of 30. This photograph is signed by Nickolas Muray's Estate and is from Nickolas Muray Photo Archives. Nickolas Muray (1892–1965) was a Hungarian born artist that worked in New York as a photographer, specializing in portraits of celebrities. His work was often seen in Vanity Fair magazine. Nick’s friendship with the Mexican artist, Miguel Covarrubias, lead to the introduction to Frida Kahlo when Nick visited Mexico. Diego Rivera and Frida Kahlo were introduced by Covarubbias and it was in 1931 when Nickolas and Frida’s love affair started. Later, when Frida had a solo exhibition at the renowned Julian Levy gallery...

Hombre en Red by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecua...

Mayan Trio Lithograph, 1950 Signed in pencil lower right (see photo) Edition 250 for Associated American Artists Publsihed 1950 Reference: AAA Cat.: 1950‑05; 1958‑01 AAA Index 1087 Condition: Excellent Image size: 13 x 9 1/2 inches Francisco Dosamantes (b. October 4, 1911 - d. July 18.1986) was a Mexican artist and educator who is best known for is educational illustrations and graphic work against fascism. He was a founding member of the Taller de Gráfica Popular and the Salón de la Plástica Mexicana. Life Francisco Dosamantes was born in Mexico City on October 4, 1911. His father was Daniel Dosamantes who was a builder, interior decorator and painter. He was not registered into the civil registry until he was about twenty years old on March 6, 1939. His mother’s name is not listed on the certificate. As a child, he demonstrated a strong interest in drawing and color, influenced by his father and his uncle Juan. The Mexican Revolution occurred while he was a young child and he stated that he remembered events such as soldiers on horses charging as well as the execution of rural farm workers. He attended primary and high school in Mexico City but stated that his education was irregular and deficient. He then entered the Escuela Nacional de Artes Plásticas, where he studied for five years. Initially, however, he was disappointed with the inexperience of the young professors and he left for a short time to study on his own. During this time, some of the dissatisfied professors organized the 30 30 group against the academic system of the school and which whom he sympathized. The effort gained the attention of established artists such as Diego Rivera who intervened. He died on Mexico City on July 18, 1986 Career After he graduated, he worked with the cultural missions of the Secretaría de Educación Pública in Oaxaca, Michoacán, Guerrero, Colima, Coahuila and Chihuahua (state) from 1932 to 1937 then again from 1941 to 1945. He stated that this experience was vital to his conscience as he worked with rural farm workers and others he stated were worthy of dignity and respect, but victims of deceit and exploitation. When he returned to Mexico City, he gave classes in high schools from 1937 to 1941. In 1945 he founded and directed the Taller Escuela de Dibujo y Pintura “Joaquín Claussell” in Campeche, Campeche. Dosamantes was a politically and culturally active artist with most of his work and affiliations related to such. He was a member of the Liga de Escritores y Artistas Revolucionarios from 1934 to 1938. He was a founding member of the Taller de Gráfica Popular, serving as administrator in 1940 and remaining a member until his death except for one short hiatus. He created posters for conferences about fascism and Nazism such as Alemania bajo bayonetas (Germany under bayonets) in 1938. In 1940 he became the secretary general of the Sindicato de Maestros de Artes Plásticas. He was also a member of the Sociedad para el Impulso de las Artes Plásticas en 1948, a founding member of the Salón de la Plástica Mexicana in 1949 and a member of the Frente Nacional de Artes Plásticas from 1952. He painted a number of murals in rural areas of Mexico generally when he was there on cultural missions. His main mural is at the former home of José María Morelos in Carácuaro, Michoacán, but there are a number at various rural schools. These were all painted between 1941 and 1946. As a book illustrator he mostly worked for the Secretaría de Educación Pública working on books for literacy campaigns. He exhibited his works, which included engravings, oils, tempuras and lithographs in Mexico and abroad. His first individual exhibition was in 1930 at the Galeria de Arte Moderno in Mexico City. His major exhibitions include the Excelsior Gallery in Mexico City in 1932, various exhibitions in New York, Washington, Philadelphia and Los Angeles in 1937; the Nelson Gallery of Art in Kansas City, Missouri in late 1947, and the Gallery of Mexican Art in...

Rémy Duval, 'School Children, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives p...

Hombre en mascara, by Ricky Cohete Archival pigment print Image size: 36 in H x 24 in W. Edition of 10 + 1AP Unframed 2023 _________________________ Ricky Cohete was born in a coas...

“And You Blink..”, 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing 4 x 3 x 3 inches. “And you blink..” And you blink and we are in another mo...

“Carry the Song..”, 2019 From the series Fragments of Our Love Story Porcelain cup with sgraffito detailing 5 x 3 x 3 inches. “Carry the song..” Carry the song of my breath to your ...

Stanley William Hayter, 'Diptych', color engraving and scorper, 1967, edition 50, Black & Moorhead 314. Signed, titled, dated, and numbered '10/50' in pencil. A superb, richly-inked impression, with fresh, vibrant colors on antique-white wove BFK Rives paper; the full sheet with margins (2 1/2 to 3 1/4 inches). Minor skinning and tape residue on the top and bottom sheet edges, verso, otherwise in excellent condition. Matted to museum standards, unframed. Image size 13 7/8 x 19 1/2 inches (146 x 108 mm); sheet size 19 7/8 x 25 3/8 inches (394 x 292 mm). Hayter created this work using engraving and scorper on 2 plates, printed side by side. He used alkali blue, printed intaglio, and a phthalo green with a hard roller on the surface. The proofing was in three states, the first with engraving (a single proof); the second adding further engraving and scorper (a single proof); the third added further engraving and editioned: color trial proofs, 5 artist's proofs, edition of 50. The edition was completed in three printings: 8 in 1967; then Hector Saunier printed numbers 9 through 18 in 1968, and numbers 19 through 50 in 1969. This impression is from the Saunier 1968 printing. Note: the online image cannot accurately convey the vibrancy of the printed alkali blue/phthalo green. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen...

“Your Pulsing Giant Heart...”, 2019 Fragments of Our Love Story Porcelain cup with sgraffito detailing 5 x 3 x 3 inches. “Your pulsing giant heart..” Your pulsing giant heart brings...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

Neoclassical Head in profile Watercolor and graphite on paper, 1950 Signed and dated lower left in ink (see photo) Provenance: Washington, D.C. priva...

Brookdale, New Jersey Graphite on paper, 1922 Signed with the artist's initials l.l., and dated 1922 (see photo) Annotated "Brookdale" front and back of she...

Untitled, Still Life of Shell Graphite on paper, 1945-1951 Signed lower right in pencil "Bisttram" (see photo) Condition: Excellent Sheet size: 9.63 x 7 .5 inches EMIL BISTTRAM (189...

Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Taken from the world’s largest photographic archive, (Hulton Archive and Getty...

GEORGE SCHREIBER (1904 – 1977) WITHOUT A NET c. 1944 Lithograph, signed in pencil lower right. Image 8 7/8 x 13 5/8 inches, sheet 10 5/8 x 15 ½ inches.Edition approximately 250 as p...

Oil on board Board size: 19.5 x 24.5 inches Framed size: 28.5 x 32.5 inches Signed lower right

Rémy Duval, 'Tugboat, River Seine, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the shee...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression, on off-white wove paper, w...

Rémy Duval, 'Street Corner, L'ile Saint Louis, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives pap...

Stanley William Hayter, 'Expansion', color etching and soft-ground, 1970, edition 100, Black & Moorhead 334. Signed, titled, dated, and numbered '23/50' in pencil. A superb, richly inked impression with fresh, vivid colors on heavy off-white wove paper; the full sheet with margins (2 to 2 1/2 inches), in excellent condition. Matted to museum standards, unframed. Image size 17 1/8 x 19 7/16 inches (435 x 494 mm); sheet size 22 x 23 1/2 inches (559 x 597 mm). This image was created in the first state using a plate covered with a plastic sheet; the sheet was cut, and the soft-ground texture was added. In the second state, the plate was covered again, and the sheet cut then etched with a deep bite, and a soft ground texture was added. Printed by Hector Saunier: intaglio fluorescent orange, hard roller phthalo green, soft roller transparent yellow. Note: the online image does cannot accurately convey the vibrancy of the printed fluorescent orange. ABOUT THE ARTIST Stanley William Hayter (1901-1988) was a British painter and printmaker associated in the 1930s with Surrealism and from 1940 onward with Abstract Expressionism. Regarded as one of the most significant printmakers of the 20th century, Hayter founded the legendary Atelier 17 studio in Paris, now known as Atelier Contrepoint. Among the artists he is credited with influencing are Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, and Marc Chagall. The hallmark of the workshop was its egalitarian structure, breaking sharply with the traditional French engraving studios by insisting on a cooperative approach to labor and technical discoveries. In 1929 Hayter was introduced to Surrealism by Yves Tanguy and André Masson, who, with other Surrealists, worked with Hayter at Atelier 17. The often violent imagery of Hayter’s Surrealist period was stimulated in part by his passionate response to the Spanish Civil War and the rise of Fascism. He organized portfolios of graphic works to raise funds for the Spanish cause, including Solidarité (Paris, 1938), a portfolio of seven prints, one of them by Picasso. Hayter frequently exhibited with the Surrealists during the 1930s but left the movement when Paul Eluard was expelled. Eluard’s poem Facile Proie (1939) was written in response to a set of Hayter’s engravings. Other writers with whom Hayter collaborated in this way included Samuel Beckett and Georges Hugnet. Hayter joined the exile of the Parisian avant-garde in 1939, moving with his second wife, the American sculptor Helen Phillips...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

Lapin couché, circa 1919-1925 Fondry Susse, Ed. 10 pcs Bronze with a brown patina H. 6 cm Sandoz : Sculpteur Figuriste et Animalier 1881-1971, Catalogue Raisonné de l'Oeuvre Sculpté...

Lapin bijou, sonnette, circa 1920-1930 Fondry Susse, Ed. 1748 pcs Bronze with a brown patina H. 6.5 cm Signed on the side of the base : Ed.m.Sandoz Sandoz : Sculpteur Figuriste et An...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produ...

"The Unmade Bed" is a photograph by Imogen Cunningham. The photograph is signed in pencil, lower right, "Imogen Cunningham, 1957". The framed piece measure...

This painting is signed and dated by Barnabè in the lower right. Barnabè's still-lives of simple everyday objects such as water pitchers, coffee cups, vases and bowls are painted in ...

'I'll Be What I Choose: Vanity of Ambition', color lithograph, 1949, edition 40, Fine and Looney 281. Signed, titled, and numbered '23/40' in pencil. Initialed in the stone, lower ri...

JAMES CHAPIN (1887 – 1975) COMPOSITION c. 1940 Lithograph signed in pencil, Image 11 7/8 x 7 ¾ inches, sheet 13 5/8 x 10 5/8 inches. Just a hint of mat line in the margins and on the verso. Some remnants of old tape prImarily at the left & right sheet edges. Rather scarce print but possibly published by Associated American Artists. WONDERFUL PORTRAYAL OF AN UP AND COMING ARTIST...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

"Charis, Santa Monica" is a photograph by Edward Weston. It has the artist stamp on verso, “Negative by Edward Weston print by Cole Weston”. The framed photograph measures 15 1/4 x 1...

Avery, Milton. NIGHT NUDE. Woodcut, 1953. Edition of 25 in black and white (there were a further 25 printed in black and blue). Signed, dated and numbered "6/25" in pencil, and also ...

Lapin, modèle 5, circa 1919-1921 Fondeur Susse Bronze with brown patina 6.5 x 4.9 x 6.5 cm Inscribed and foundry stamp : Ed.m.Sandoz, Susse Frères Editeurs Certificate of authentici...

Rémy Duval, 'Pont Marie, Paris', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the sheet with dec...

This exuberantly-painted Parisian street scene is typical of Lersy's colorful and energetic style. His work combines mid-century Modern abstraction with subjects beloved by the Impre...

Frida Biting Her Necklace by Lucienne Bloch is a 8 1/4 x 10 1/4 inch silver gelatin print. This photograph is mounted on a 16 x 20 inch mount board with a window mat. It is signed on print recto by artist in pen and has a signature label on mount verso with title, date, artist name and copyright information. Frida Biting Her Necklace features a portrait of Frida Kahlo sitting in a chair while biting her necklace. Her head is slightly turned as she stares at the viewer. Lucienne Bloch was a prolific artist. Born in Switzerland, she soon moved with her family to American in mist of the growing tensions of war and anti-Semitism. At the young age of 15 years old, she attended The Cleveland Institute of Art and later in life enrolled in the Ecole National et Superier des Beaux Arts in Paris. Exceeding in her artistic endeavors, she worked for a number of established artist such as sculptor, Anotine Boudelle, and architecture Frank Lloyd Wright. However, it was her encounter with Mexican Muralist, Diego Rivera, and painter Frida Kahlo that solidified Bloch artistic style. Bloch became a closed friend of the couple, as well as, the chief photographer of the Rockefeller Center mural Diego Rivera was working on in New York before it was destroyed. In addition to her photographs, Bloch was a Fresco muralist for the Federal Arts Project of the Works Progress...

Jean-Gabriel DOMERGUE (1889-1962) "La Terrasse" Oil on panel Signed lower right and titled on the reverse Dimensions: Painting 33 x 24 cm Framed 52 x 43 cm (20.5 x 16.5 in)

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear in mind that all prints are produced to order. Lead times are expected between 15-20 days. Currency fluctuations may cause the price to change. This is a contemporary print from the Getty Archive using Slim Aarons negatives. Please contact the gallery for information about other print sizes. All prints feature a Slim Aarons blindstamp, and are accompanied by a Slim Aarons Certificate of Authentication issued by Getty. 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Skiing in St Moritz" is a beautiful Limited Edition Estate Stamped Lambda print from 20th Century photographer Slim Aarons. The first Estate Stamp Edition is available. Countess Jan Blonde smiles and poses in the Palace Hotel sleigh on Lake St. Moritz, Switzerland, 1983. The world of Aarons’s photographs...