Jean Moitte Art

Lithograph on cream wove paper with a large, modern geometric watermark, 10 x 9 5/8 inches (255 x 245 mm), the full sheet. Signed, dated and numbered 4/25 in pencil in the lower right.

Marc Chagall (1887-1985) A Day at the Ball (Chichikov’s Appearance at the Ball), 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On ...

Marc Chagall (1887-1985) The Education (The Governor's Wife Scolds Her Daughter), 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On...

Leonor Fini - Cats - Original Engraving Mme.Helvetius' Cats Original etching created in 1985, Printed Signature (LF). Conditions: excellent Edition: 100 Support: Arches paper. Dimensions: Paper dimensions: 44 x 28 cm Editions: Moret, Paris. 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...

Etching with aquatint in colors on white wove paper with a deckle edge, 18 x 15 inches (457 x 381 mm); sheet 30 x 22 1/2 inches (762 x 571 mm), full margins. Signed and numbered 123/...

Marc Chagall (1887-1985) Meeting with a Farmer, 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On Arches Vellum 37.5 x 28cm (c. 14....

Etching with aquatint on white wove paper with a deckle edge, 23 1/2 x 17 1/2 inches (598 x 317 mm); sheet 30 x 22 1/2 inches (762 x 571 mm), full margins. Signed and numbered 23/50 ...

Etching with aquatint on white wove paper with a deckle edge, 23 1/2 x 17 1/2 inches (598 x 317 mm); sheet 30 x 22 1/2 inches (762 x 571 mm), full margins. Signed and numbered 38/50 ...

Marc Chagall (1887-1985) Happy Man (Nozdriov), 1948 Original etching Unsigned Unnumbered edition limited to 368 copies On Arches Vellum 37.5 x 28cm (c. 14.6 x 11 in) REFERENCE: ...

Marc Chagall (1887-1985) Dinner's Time, 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On Arches Vellum 28 x 37.5 cm (c. 11 x 14.6 ...

Marc Chagall (1887-1985) The Coachman and his Horses (The Coachman Feeds his Horses), 1948 Original etching Signed in the plate Unnumbered edition limited to 368 copies On Arches...

Marc Chagall (1887-1985) Tchitchikov's Dreams, 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On Arches Vellum 37.5 x 28cm (c. 14.6...

Marc Chagall (1887-1985) The Journey by Carriage (On the Way to Sobakevich), 1948 Original etching Signed in the plate Unnumbered edition limited to 368 copies On Arches Vellum 2...

Marc Chagall (1887-1985) Lady Sobakevitch, 1948 Original etching Printed signature in the plate Unnumbered edition limited to 368 copies On Arches Vellum 37.5 x 28cm (c. 14.6 x 1...

Marc Chagall (1887-1985) Sobakevitch's House, 1948 Original etching Signed in the plate Unnumbered edition limited to 368 copies On Arches Vellum 28 x 37.5 cm (c. 11 x 14.6 in) ...