Alain Bonnefoit Art

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...

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...

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

Jean Cocteau - Parametabolismes - Original Lithograph Signed "Jean Cocteau" in the plate and dated 1956 in the plate. 39 x 29 cm Edition: 500 Hand numbered Stamp signed lower right

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...

Color lithograph with full margins. Artist's proof inscribed "E II", from "Estado II" edition of 30, aside from the edition of 63. Signed, dated and numbered XXIV/XXX in pencil, lowe...

Black Passion Aluminum plate lithograph from two plates, 1975 Signed, titled and numbered in pencil by the artist Edition 50 Published at Lakeside Studio with the Master printer Jack Lemon Imagery depicts the Seven deadly Sins three Roman soldiers and Simon of Cyrene, who was forced to help Christ carry the cross One of Pozzatti's favorite works Condition: Otherwise very good condition Soft rippling bottom margin Image size: 20 x 28 inches (50.80 x 71.12cm) Sheet size: 24 x 32 inches "Painter and printmaker Rudolph Otto "Rudy" Pozzatti was born in Telluride, Colorado, on January 14, 1925. Upon graduation from high school, he received a scholarship to attend the University of Colorado in Boulder where he enrolled as an art major. In 1943, his studies were interrupted by his induction into the U. S. Army. After his discharge in 1946, he re-enrolled in the University of Colorado where he studied under Wendell...

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...

Little is known about the artist, Edward (Ed) Sacks, although this print may have been made at the Art Students League in NYC. it is a cross between, as the title suggests, a Seated ...

This is an enigmatic image. Between the two center/left trees there appears to be a figure, possibly a woman. At the right, seated on a rock, is a man, in robes. Religious images are...

A very good impression of this color lithograph. Printer's proof, annotated P.P. 1 from the unknown edition size. Printed by United Church Press, Boston/Philadelphia. Published by Un...