David Salle Art

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 - 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 ...

Experience the epitome of 1950s Riviera sophistication with this authentic original Monte Carlo vintage poster 1950s by master artist Jean-Gabriel Domergue. This exceptional travel d...

Offset lithograph in colors. Hand signed, dated and numbered by the artist. Artwork is in excellent condition. Certificate of authenticity included. Edition of 48. All reasonable off...

Léonard Foujita (French/Japanese, 1886–1968) The Three Graces Original Lithograph 76 x 54 cm Signed in the plate Reference: Sylvie Buisson réf. #60.28 (vol. 1, p.531) Léonard Ts...

Original vintage travel poster: Pan American World Airways cy Clipper to Scandinavia. Archival linen-backed and ready to frame. The cent...

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

Keith Haring Galerie Paul Maenz, Cologne, Germany 1984: Super rare, tri-fold poster booklet published to announce Haring’s 1984 solo exhibition at Paul Maenz Gallery in Cologne (Hari...

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...

Jasper Johns Untitled 2010 Intaglio on Revere Standard White 19 x 21 1/2 inches 48 x 55 cm Edition of 50 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks Gallery...

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

JOAN MIRÓ (1893–1983) – “L’OISEAU DU FORGERON” Etching and Aquatint in Colors with Debossing on Arches Paper ⚜ Hand Signed and Numbered ⚜ Custom Conservation Frame A POETIC DIALOGUE BETWEEN INDUSTRIAL MATTER AND THE LIFE OF THE BIRD “L’Oiseau du Forgeron”, or “The Blacksmith’s Bird,” is a 1963 etching and aquatint with debossing by Joan Miró, hand signed in pencil lower right and numbered 48 from the limited edition of 75. The work belongs to Miró’s celebrated Forgeron series, in which the artist used aggressive plate biting and physical debossing of the paper to summon the world of the blacksmith’s forge directly onto the printed sheet. Printed in colors on heavy Arches wove paper with the watermark present, the impression was published by Maeght Éditeur, Paris, the central printmaking publisher of Miró’s mature career, and is documented in Jacques Dupin’s Miró Engraver, Vol. II: 1961–1973 (Daniel Lelong Éditeur, Paris, 1989) as plate 363. The composition is built around a bold visual pairing. At its center sits a heavy gray geometric form, rendered through the combined effect of etching, aquatint, and debossing, the latter pressing the contours of the deeply etched plate physically into the paper to create a tactile, sculptural relief that mimics forged industrial iron. The form is perforated with a constellation of small circles that read as rivet holes and is edged with the irregular notches of a blacksmith’s tool...

Artist: Stephan Strocen, Argentine (1930 - 1999) Title: Dialogando en Amarillo Year: 1970 Medium: Aquatint Etching with Intaglio, signed and dated in pencil Edition: 100 Size: 30 x 2...

Bold collotype by Patricia A. Pearce (American, b. 1948). Numbered, titled, and signed along the bottom edge ("AP Kimono 14 Patricia A Pearce"). No frame. Patricia Pearce (Ame...

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...