(after) Egon Schiele Figurative Prints

Marcel Gromaire (1892-1971) - The Painter. 1943, paper, lithograph, 56x46 cm

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: Édit...

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...

after Henri Matisse - Acrobat Edition of 200 with the printed signature, as issued 76 x 56 With stamp of the Succession Matisse References : Artvalue - Succession Matisse

after Henri Matisse - Nude With Oranges Edition of 200 printed signature, as issued 76 x 56 cm Posthumous edition after the original drawing with the stamp of the Succession Matisse ...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

Original Vintage Poster by the Austrian artist Ferdinand Ludwig Graf, a member of the Hagenbund. This Viennese artist association moved as soon a...

Arthur Kolnik was born in Stanislavov, a small town in Galicia, which was then part of the Austro-Hungarian Empire. His father, who was originally from Lithuania, worked as an accoun...

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...

Jean Cocteau - Marine Mountains - Original Lithograph Dimensions: 38 x 28 cm Edition: 200 In Rives From: COCTEAU. — VERDET (André). Montagnes marines. S. l. (Paris), Les Messagers du...

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

after Henri MATISSE Edition of 200 with the printed signature, as issued 76 x 56 cm With stamp of the Succession Matisse References : Artvalue - Succession Matisse