Pierre Fix-Masseau Art

From the celebrated Alphabet Suite, this stunning Art Deco lithograph/serigraph was designed by the Russian-born French artist and designer known by the pseudonym Erté, and produced ...

Original French vintage poster. le "Flip" Soap. This fun image shows the tube of 'Flip" pushing away the shaving bowl, towel, and shaving brush. I...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...

"Local" lithograph by Red Grooms from the 1971 "No Gas" portfolio. Hand-signed AP Red Grooms in policeman's left shoe in bottom lower right of image. Depicts people on subway.

"Rat" lithograph from 1971 "No Gas" portfolio by Red Grooms. Hand-signed AP Red Grooms inside blue of Clorox bottle on front lower right. Image size: 22 x 27 1/2 inches. Depicts a N...

An exceptional, scarce serigraph by Corita Kent from 1966-67 titled “To Do A Common Thing Uncommonly Well Brings Success”. Like many of Kent’s works, this image features a famous qu...

Original boxing print with the initials P.B. in the upper left corner. Printer Ed. Sagot Editeur, Paris. Professional acid-free archival linen backed and ready to frame. Excel...

ITZCHAK TARKAY – [CAFÉ FRIENDS] ⚜ Serigraph in Color on Wove Paper ⚜ Hand Signed and Annotated HC 27/80 ⚜ Gilt Wood Frame CAFÉ SCENE WITH ELEGANT DETAIL Executed circa 2001, [Café F...

“A Landscape For Bob, 2013” by Richard Mayhew (American, 1924-2024). This luminous print is a classic example of Mayhew’s mature approach to landscape, built entirely through bands ...

French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. 195mm by 265mm (sheet)

Sonia Delaunay - Composition Original Lithograph 1972 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Lazzaro. Sonia Delaunay was known for her vivid use of color and her bold, abstract patterns, breaking down traditional distinctions between the fine and applied arts as an artist, designer and printmaker. Born Sarah Stern on November 14, 1885 in Gradizhsk, Ukraine, she was adopted in 1890 by her maternal uncle, Henri Terk, a lawyer in St. Petersburg, where she grew up, exposed to music and art, and learning several foreign languages. In 1903, she moved to Germany to study drawing with Ludwig Schmidt-Reutler (1863–1909) at the Karlsruhe academy of fine arts; Arnold Schoenberg (1874–1951), composer-to-be, was among her classmates there. In 1905, she traveled to Paris where she attended art classes at the Académie de la Palette, learned printmaking from Rudolf Grossman (1889–1941), and met Amédée Ozenfant (1886–1966), André Dunoyer de Segonzac (1884–1974), and Jean-Louis Boussingault (1883–1943). Sonia spent much of her time at exhibitions and galleries in Paris, which showed works by Paul Cézanne, Vincent Van Gogh, Pierre Bonnard, and Edouard Vuillard, as well as Les Fauves, Henri Matisse and André Derain. She did, however, maintain contact with Germany, exhibiting at the Galerie Der Sturm, Berlin, in 1913, 1920 and 1921. During her first year in Paris, Sonia met the German collector and art-dealer, Wilhelm Uhde (1874–1947), whom she married on December 5, 1908, and whose Montparnasse gallery, the Galerie Notre-Dame des Champs, showed her first solo exhibition. Through Uhde, Sonia encountered many painters, including Pablo Picasso, Georges Braque, Maurice de Vlaminck, and Robert Delaunay (1885–1941). In 1910, Sonia divorced Uhde by mutual agreement, married Delaunay that same year, and gave birth to their son, Charles, in January 1911. Together Sonia and Robert Delaunay pursued the study of color, influenced by theories of Michel-Eugène Chevreul (1786–1889). Sonia’s interest in simultaneous contrast, as evidenced in her early collages, book bindings, small painted boxes...

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Reference: Chagall Lithographe 1957-1962. VOLUME II. 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...