Adolphe Lalauze Art

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Artist: Joan Mitchell (American, 1925-1992) Title: "Fields I" Portfolio: Fields *Signed and numbered by Mitchell in pencil (on second sheet) lower right Year: 1992 Medium: Original E...

Artist: John Baldessari Title: Kiss, Hair, Hands Year: 1986 Medium: Etching with aquatint on Rives B.F.K paper Sheet: 29 x 19 3/4 inches (73.7 x 50.2 cm) Edition: 35; signed, numbere...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

London: Boydell, 1810. Aquatint with engraving printed in sepia on cream wove paper with a partial 1805 watermark, 6 x 9 1/2 (153 x 242 mm); sheet 10 3/8 x 14 1/8 inches (264 x 360 ...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

Etching on antique cream laid paper with a deckle edge and an unidentified round watermark with an arm holding a torch, 3 1/2 x 5 5/8 inches (89 x 144 mm); sheet 5 3/4 x 8 3/8 inches...

A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...

Artist: John James Audubon (American, 1785-1851) Title: "Eared Grebe" (Plate CCCCIV - 404; part No. 81) Portfolio: The Birds of America, Havell Edition Year: 1838 Medium: Original Ha...

Artist: John Baldessari Title: Cavalry Year: 1986 Medium: Etching with aquatint on Rives B.F.K paper Sheet: 29 3/4 x 22 inches (75.56 x 55.88 cm) Edition: 35; signed, numbered and da...

Artist: Henri Matisse (French, 1869-1954) Title: "Figure Endormie dans un Intérieur (Interior with Sleeping Figure)" *Signed and numbered by Matisse in pencil lower right Year: 1929 ...