Gifts For Him 2014

Pablo Picasso 347 Series: No. 311, September 4, 1968 II etching, ed. of 50 11 1/8 x 13 5/8 in. (28.3 x 34.6 cm)

Pablo Picasso 347 Series: No. 255, August 7, 1968 II etching, edition of 50 11 1/4 x 15 3/4 in. (28.6 x 40 cm)

Henri Matisse Torse, bras gauche derrière la tête, 1926 drypoint, on chine appliqué, signed in pencil and numbered 4 from the edition of 7 Plate: 5 13/16 x 3 7...

Pablo Picasso 347 Series: No. 313, September 4, 1968 IV etching, ed. of 50 11 x 13 5/8 in. (27.9 x 34.6 cm)

etching edition of 30 + 10 AP + 2 PP sheet: 17 1/2 x 15 1/2 in. (44.5 x 39.4 cm) Cat. no. 44, reproduced on p. 120

Henri Matisse Nu couché, renversé, 1929 etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 3 5/8 x 4 7/8 inches (9.2 x 12.4 cm) Sheet: 11 x 14 15/...

LANSNER, Fay LANSNER Untitled II, 1973 Lithograph, ed. of 75 35 1/2 x 23 in.

etching on Somerset Satin White paper edition 18 of 40 + 10 AP image: 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm) sheet: 23 x 22 1/2 in. (58.4 x 57.2 cm) framed: 26 1/4 x 25 1/2 in. (66.7 x...

Henri Matisse Repos sur la banquette 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 49.5 x 65.5 cms (19 1/2 x 25 3/4 ins) Image size: 44.5 x 54.5 cms (17 1/2 x 21 1...

Henri Matisse Figure au peignoir 1929 Etching on Chine appliqué on Arches Velin paper, Edition of 25 Paper size: 37.5 x 28.5 cms (14 3/4 x 11 1/4 ins) Plate Size: 16 x 6 cms (6 ¼ x 2...

Henri Matisse Nu couché 1929 Etching on Chine appliqué on wove paper, Edition of 25 Paper size: 28.6 x 38 cms (11 1/8 x 14 5/8 ins) Plate size: 12.3 x 15.5 cms (4 3/4 x 6 1/8 ins) HM...

Salvador Dali - Jonas Salk - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Field 70-5

Original Lithograph by Jean-Gabriel Domergue Title: Naked Signed Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne"

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograp...

Salvador Dali - The Kidnapping - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,5 x 28,5 cm 1968 References : Michler...

Salvador Dali - Old Faust - from "Faust" Original Etching Embossed signature From the edition of 731 Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

Salvador Dali - Nude Ridding - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Dufza - Paris - Quai de la Tournelle - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm Unumbered as issued

Salvador Dali - The Queen with Silk Tunic - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

Salvador Dali - Moshe Dayan - Original Handsigned Etching Dimensions: 38 x 28 cm 1968 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Fi...

Pablo Picasso (after) Helene Chez Archimede Medium: engraved on wood by Georges Aubert Dimensions: 44 x 33 cm Portfolio: Helen Chez Archimede Year: 1955 Edition: 240 (Here it is on...

Salvador Dali - "Knight & Death" from Faust - Original Etching With embossed signature (from the standard book edition of 731) Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1...

Leonor Fini - Servants - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinckve...

Leonor Fini - Friends - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinckvel...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Salvador Dali - Head of Veal - Original Etching Embossed signature From the edition of 731 Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938...

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938 Andre Derain was born in 1880 in Chatou, an artist colony outside Paris. In 1898, he enrolled in the Academie Carriere in Paris where he met Matisse. He attended art school and in 1900, set up a studio with Maurice deVlaminck. After his military service from 1900-1904, Derain exhibited his work at the Salon des Independants and then at the Salon d'Automne with Matisse, Vlaminck and others, thus creating the movement of Fauvism.He worked with Henri Matisse in 1905 at Collioure, and participated in the 1905 Salon d’Automne with Matisse, Vlaminck, and Braque, the exhibition in which this group was labeled as Fauves, or Wild Beasts. Along with Vlaminck, Derain was one of the first artists to collect the tribal art of Africa which was influential to many of the artists of the early 20th century. In 1906, Derain met Picasso and his dealer, who purchased Derain's entire studio, creating newfound financial success. During this time, he was hired for the illustrations for works by Guillaume Apollinaire and Andre Breton. After World War I, his friend's Cubism movement affected his art, along with influence from Classicism and African Art. Derain stayed in Paris during most of the Occupation, where he was esteemed by the Nazis because of his artistic integrity. Hitler's Foreign Minister commissioned him to paint a family portrait, but he politely refused. His popularity began to decline after the war because of disagreement over new artistic movements. He later lost most of his eyesight due to illness, which may have been the reason he was hit by a truck in 1954, dying from shock at the age of 74. Derain’s Fauve paintings are typically bright with intense color. Influenced by the work of Cézanne as well as the early Cubist paintings of Picasso and Braque’s, Derain’s style changed and by 1912, the paintings became more traditional and structured. For the remainder of his career, he continued to investigate different compositional methods including the perspective of Cézanne and the pointillism of Seurat. He also designed ballet sets and made a number of sculptures. At the turn of the century, Andre Derain exhibited at the radical Fauve Salon d’Automne (1905) and was one of the founding members of the Fauvist movement together with his life-long friends Matisse and Vlaminck. The works he produced in this period, often under the guidance of Matisse, have been counted among the masterpieces of Fauvism. From around 1918, Derain turned his back on the avant-garde and had begun to explore some of the more traditional genres of Western art, including landscapes. His main source of inspiration once the Fauves group had dispersed was found in the Louvre, where he admired the early Renaissance works in particular. Talking of his frequent visits there, he once said, ‘That seemed to me then, the true, pure absolute painting.’ His work evolved through many styles and, most significantly, turned back to the past, particularly after 1922 when Lenin had publicly pronounced his disdain for abstract art. Derain built up an immense and fascinating collection of paintings, sculpture and objets d’art throughout his life which aided his experimentation and was reflected in his work between 1930 and 1945. During these years, his painting technique displayed the most avenues of invention, using a repertoire of primitivist motifs. His eclectic collection was constantly changing. In 1930 he sold his African collection in exchange for bronzes of antiquity and the Renaissance which indicated a real change of interest in the objects, as did his later pursuit of Greek ceramic painting and his enthusiasm for grand cycles of literary and antique themes...

Original Handsigned Etching by Salvador Dali Hand-Enhanced with Gold painting Title: Merry Christmas Signed in pencil Edition: EA Dimensions: 23 x 17.5 cm Publisher : Phyllis Lucas Gallery...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Unsigned and unnumbered as ...

Portfolio of 10 Original Signed Engravings by Salvador Dali Title: Decameron Signed in Pencil by Salvador Dali Dimensions: 45 x 32 cm Edition EA 1/5 1972 References : Field 72-8 (p. ...

Salvador Dali - Nude Couples - Original Handsigned Lithograph Dimensions: 52 x 65 cm 1970 Signed in pencil and numbered Edition : /CXX References : Field 70-8

Salvador Dali - Erotic Grapefruit - Original Hand-Signed Lithograph 1969 Dimensions: P. 57 x 37 cm Sheet: 75 x 56 cm Handsigned, EA (Epreuve d'Artiste) Excellent Condition Reference...

Salvador Dali - The Wine Casks - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Delorme. SIGNATURE : plate signed by Dali. LIMITED : Total edition of 233 SIZE : 41 x 33 cm ...

Salvador Dali - Mad Tristan - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938 Andre Derain was born in 1880 in Chatou, an artist colony outside Paris. In 1898, he enrolled in the Academie Carriere in Paris where he met Matisse. He attended art school and in 1900, set up a studio with Maurice deVlaminck. After his military service from 1900-1904, Derain exhibited his work at the Salon des Independants and then at the Salon d'Automne with Matisse, Vlaminck and others, thus creating the movement of Fauvism.He worked with Henri Matisse in 1905 at Collioure, and participated in the 1905 Salon d’Automne with Matisse, Vlaminck, and Braque, the exhibition in which this group was labeled as Fauves, or Wild Beasts. Along with Vlaminck, Derain was one of the first artists to collect the tribal art of Africa which was influential to many of the artists of the early 20th century. In 1906, Derain met Picasso and his dealer, who purchased Derain's entire studio, creating newfound financial success. During this time, he was hired for the illustrations for works by Guillaume Apollinaire and Andre Breton. After World War I, his friend's Cubism movement affected his art, along with influence from Classicism and African Art. Derain stayed in Paris during most of the Occupation, where he was esteemed by the Nazis because of his artistic integrity. Hitler's Foreign Minister commissioned him to paint a family portrait, but he politely refused. His popularity began to decline after the war because of disagreement over new artistic movements. He later lost most of his eyesight due to illness, which may have been the reason he was hit by a truck in 1954, dying from shock at the age of 74. Derain’s Fauve paintings are typically bright with intense color. Influenced by the work of Cézanne as well as the early Cubist paintings of Picasso and Braque’s, Derain’s style changed and by 1912, the paintings became more traditional and structured. For the remainder of his career, he continued to investigate different compositional methods including the perspective of Cézanne and the pointillism of Seurat. He also designed ballet sets and made a number of sculptures. At the turn of the century, Andre Derain exhibited at the radical Fauve Salon d’Automne (1905) and was one of the founding members of the Fauvist movement together with his life-long friends Matisse and Vlaminck. The works he produced in this period, often under the guidance of Matisse, have been counted among the masterpieces of Fauvism. From around 1918, Derain turned his back on the avant-garde and had begun to explore some of the more traditional genres of Western art, including landscapes. His main source of inspiration once the Fauves group had dispersed was found in the Louvre, where he admired the early Renaissance works in particular. Talking of his frequent visits there, he once said, ‘That seemed to me then, the true, pure absolute painting.’ His work evolved through many styles and, most significantly, turned back to the past, particularly after 1922 when Lenin had publicly pronounced his disdain for abstract art. Derain built up an immense and fascinating collection of paintings, sculpture and objets d’art throughout his life which aided his experimentation and was reflected in his work between 1930 and 1945. During these years, his painting technique displayed the most avenues of invention, using a repertoire of primitivist motifs. His eclectic collection was constantly changing. In 1930 he sold his African collection in exchange for bronzes of antiquity and the Renaissance which indicated a real change of interest in the objects, as did his later pursuit of Greek ceramic painting and his enthusiasm for grand cycles of literary and antique themes...

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938 Andre Derain was born in 1...

after Henri Matisse - Zulma - Lithograph Artist : Henri MATISSE posthumous edition of 200 after the original paper cut-out signature printed in the plate 80 x 60 cm With stamp of t...

After PABLO PICASSO (1881-1973) Maternity (Grande Maternité) 1963 Offset Lithograph on Paper Signed and Dated Handsigned in Pencil Numbered: 73/200 9...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish...

After Pablo Picasso The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve" Printed signature and date Dimensio...

Salvador Dali - Nude and Lobster - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Salvador Dali - Six Eggs - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Salvador Dali - The Trenches - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Salvador Dali - Kneeling Knight - Original Etching Stamp Signed Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

Salvador Dali - Dawn - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Guillard SIGNATURE : plate signed by Dali. LIMITED : 233 copies. SIZE : 41 x 33 cm REFERENCES : Fiel...

Original Lithograph by Jean Cocteau Title: Europe's Agriculture Signed in the stone/printed signature Dimensions: 33 x 46 cm Luxury impression from the portfolio published by Sciaky....

Title: Decorative Documents Author: Alfons Mucha. Publisher: Paris: Librairie Centrale des Beaux-Arts, 13 Rue Lafayette. Emile Levy publisher. Published ...

Leonor Fini - Satyr - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

after Pablo Picasso - The Human Comedy - Lithograph Signed and dated in the plate Dimensions: 32 x 24 cm This artwork is a lithograph in colors on wov...

after Pablo Picasso - The Human Comedy - Lithograph Signed and dated in the plate Dimensions: 32 x 24 cm This artwork is a lithograph in colors on wove paper after a drawing by Pablo...

Salvador Dali - George Washington - Original Handsigned Etching Dimensions: 38 x 28 cm 1967 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Field 67-3

Salvador Dali - Nails on Nude - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Jacques Villon - Sleeping Nude - Original Etching Circa 1950 Signed in pencil Edition of 45. Dimensions : 32.7 x 25 cm

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograp...

Salvador Dali - Queen Iseult and her daughter - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...