Chas Laborde Art

Natural history - François-Xavier Lalanne Etching Numbered out of 70 and signed F.X.L. in pencil Robert and Lydie Dutrou editors 2006. Paper size: 40x33cm Work size: 16x19.5cm

Heliogravure, etching, and drypoint, 1934. From the deluxe edition of 40 with the drypoint remarqué, before the published edition of 100 printed from the reduced plate. From the po...

Movies, TV and magazines are constant source of inspiration. Fame, as fleckring and shallow it can be sometimes, is very intriguing to him. The worlds of fashion, society and pop cu...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

Etching with drypoint on cream wove paper with deckle edges, 4 3/8 x 12 3/4 inches (233 x 323 mm); sheet 9 1/2 x 15 3/4 inches (240 x 338 mm), full margins. Signed and numbered 4/75 ...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of joy and come-hither coquettishness. T...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of ecstasy and repose. The loose sketches were drawn directly onto the plate by the artist, a master draftsman whose erotic etchings are largely unknown. The composition is based on the drawing: Clinical Study, Towards a Heroic-Erotic Monument in the Academic/Comic Style, 1965, ball-point pen on paper, 20 x 40 in. / 60 x 101.6 cm. *This print was etched in six gorgeous inks, each in an edition of ten: take your pick of color!* Oldenburg had an interest in imaginary monuments: he famously conceptualized works such as “Ball”, an unbuilt monument conceived of in 1967 which imagined two ballcocks – the round mechanism in a toilet tank...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. The Enchantress with the baby Rapunzel references a Heironymus...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...