Hippolyte Bellangé Art

Unframed "Seated Woman on Pink Chair" lithograph by artist Joy Laville. Signed H J Laville lower right recto. Image size: 31 x 43 inches.

This impressive British 1940's portrait oil painting is by noted artist Arthur Royce Bradbury. Painted in 1949 it is a half-length portrait of a young Scottish girl in a mountainous ...

A fine 19th century oil on canvas portrait stated to be Captain Paul John Henry Butler, 5th Royal Lancashire Militia, half length, wearing breast star. Hou...

André Planson - French Province Original Lithograph Handsigned Dimensions: 38 x 28 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...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

A Fierce Bull. 1911. Drypoint. Hardie 108. 5 3/8 x 8 (sheet 8 5/16 x 11 7/8). Edition 8. An exceptional impression with rich drypoint burr printed on antique laid paper. A proof of t...

Laver 139, Hurst 246. 8 7/8 x 13 7/8 (sheet 11 1/2 x 16 1/4). Trial proof. No published edition. An extremely rich impression with plate tone printed on 'antique laid paper countermarked 'DS&Pine 17940 with a Strasbourg lily watermark. Signed and annotated 'trial' in pencil. An exceptional proof of the greatest rarity. Housed in a 16 x 20-inch archival mat, suitable for framing. In 1899 Briwcoe acquired a studio in Malden, Essex, and bought a 3-ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast, and through the Dutch waterways, constantly sketching and painting in both oil and watercolor. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...

Portrait of a young man, half length wearing a yellow waistcoat and holding a cane , Circle of Thomas Jones Barker (1815-1882),(unsigned) Oil on canvas, h...

'Melancholic Muses V', one of a poignant set of six signed artist proof lithographs by the celebrated Spanish artist from Barcelona, Vicenç Caraltó (circa 1960s). This collection of ...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

John Tarantola's original nude portrait "Sebastian" (2014) is a beautiful realist painting done with oil on panel, which depicts a young red-haired man looking down and forward, in a...