Felix Labisse Art

Untitled Double Page Illustration for DLM Color lithograph, 1968 Unsigned as issued in DLM Published in Derriere le Miroir (Behind the Mirror), calle...

Medium: Print Condition Print in good condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand Signed and Numbered by the Artist in Pencil, CB HOYO. ...

Brice Marden Distant Muses 2000 Screenprint 23 1/2 x 19 1/8 inches; 60 x 49 cm Edition of 300 Signed, dated, and numbered in graphite (lower recto) Frame available upon request Available from Matthew Marks...

Marc Chagall Original Lithograph from Chagall Lithographe 1957-1962. VOLUME II. 1963 Dimensions: 32 x 24 cm From the unsigned edition of 10000 copies without margins Reference: Mourlot 398 Condition : Excellent 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 Theater...

Color silkscreen and collage. Framed. Hand signed, dated and numbered by the artist. Certificate of authenticity included. Edition PP 2/6. All reasonable offers will be considered.

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

This serigraph was created by contemporary American artist Hunt Slonem. Slonem is best known for his Neo-Expressionist paintings and bright tropical palette, and his subject matter o...

“I prefer drawing to talking. Drawing is faster, and leaves less room for lies.” This colorful modern lithograph was printed at the Atelier Mourlot in Paris in 1963 and is from the printer's edition. It is signed and dated in the plate in the bottom left quadrant. Le Corbusier...

THÉO TOBIASSE (1927–2012) – “LES SIÈCLES COULENT ENTRE NOS RÊVES” Lithograph on Arches Paper ⚜ Hand Signed and Numbered ⚜ Gilt Wood Frame A LUMINOUS MEDITATION ON MEMORY, INTIMACY, AND THE PASSAGE OF TIME From the acclaimed suite Un Chant d’Exil et de Lumière (A Song of Exile and Light), this richly saturated lithograph is one image from a series of six distinct compositions published in 1997 by Klim Art Publisher, Toronto, and printed by master lithographer Pierre Chave at his celebrated atelier in Saint-Paul-de-Vence. The multi-color lithographic process, employing up to twenty-three separate color passes, produces the extraordinary depth and chromatic intensity visible across the entire composition. Two figures sit together at a table, each holding a glass of wine. A samovar and two lit candles anchor the still life at center, surrounded by scattered fruit and a bowl bearing an olive branch. A vibrant rainbow canopy arcs across the upper portion of the image, while a dove takes flight at upper right. Behind the couple hangs a decorative tablet adorned with flowering branches and scrolled columns. The title, inscribed in the artist’s hand within the composition, translates as “The centuries flow between our dreams,” a poetic distillation of the suite’s overarching contemplation of generational memory passing through shared moments of intimacy. What initially reads as a warm, intimate gathering reveals itself as a layered reflection on heritage, belonging, and the rituals that connect one generation to the next. The samovar recalls Tobiasse’s Eastern European childhood, while the olive branch and candles carry associations of renewal and hope. The dove and rainbow reinforce themes of peace and covenant that recur throughout Tobiasse’s oeuvre. Rendered on heavy Arches paper with deckled edges, the print retains a tactile, handmade quality that complements its emotional warmth. Presented in a crosshatch gilt wood frame the work suits interiors that embrace color and narrative, from a Mediterranean-inspired living space to a collector’s library or a gallery wall dedicated to the School of Paris tradition. WHY COLLECT THIS WORK? ✓ Suite Provenance – One of six distinct compositions from Tobiasse’s acclaimed Un Chant d’Exil et de Lumière series, published in 1997 ✓ Master Printed – Produced by Pierre Chave in Saint-Paul-de-Vence using up to twenty-three color passes ✓ Hand Signed and Numbered – Pencil signed lower right, numbered 87/199 ✓ Rich Symbolic Composition – Dove, rainbow, samovar, olive branch, and candle layered with personal and cultural meaning ✓ Gilt Wood Frame – Crosshatch gilt finish, ready to display ARTWORK DETAILS: ▸ Title: Les Siècles Coulent Entre Nos Rêves (The Centuries Flow Between Our Dreams) ▸ Suite: Un Chant d’Exil et de Lumière (A Song of Exile and Light) ▸ Artist: Théo Tobiasse (1927–2012) ▸ Medium: Lithograph on Arches Paper with Deckled Edges ▸ Year of Creation: 1997 ▸ Signature: Hand Signed Lower Right in Pencil ▸ Edition: 87/199 ▸ Publisher: Klim Art Publisher, Toronto, Canada ▸ Printer: Pierre Chave, Saint-Paul-de-Vence, France ▸ Provenance: Michael Hittleman Gallery, Los Angeles ▸ Country of Origin: France ▸ Dimensions: — ◼︎ Image Area: 30.5 x 22 inches — ◼︎ Paper Size: 36 x 27.25 inches — ◻︎ Frame Size: 44 x 35 x 0.875 inches ▸ Condition: Excellent, commensurate with age ▸ Framing: Crosshatch Gilt Wood Frame, ready to display INCLUDED DOCUMENTATION: ✓ Certificate of Authenticity ✓ Artist Biography Document THE ARTIST: Théo Tobiasse (born Tobias Eidesas, 1927, Jaffa, Israel; died 2012...

"Pensive (Thoughtful)" Print 40 x 30 inch Ed. of 50 by Gerard Marti Lithograph Not framed. Ships rolled in tube Signed and numbered by the artist. “Pensive” is an elegant evening ...

Screenprint in colours, on Arches paper, with full margins Edition 77 of 120 38 x 32.5 cm (15 x 12.8 in) 44.5 x 36.5 x 2.5 cm, 17.5 x 14.4 x 1 in Signed, numbered, dated and titled o...

Abstract Composition, 1959 Silkscreen Lithograph "Phoenix". This was from a portfolio which included works by Yosl Bergner, Menashe Kadishman, Yosef Zaritsky, Aharon Kahana, Jacob Wexler...