Robert Carroll Prints and Multiples

Keith Haring Against all Odds 1990 Four works from the Against All Odds, 20 Drawings series, 1990 Lithographs Ed of 500 28 x 24 in with frame 8 x 10 1...

Published by the Royal Academy

Artist: Tracey Emin Title: Curled Up Year: 2022 Medium: Screenprint on Rives BFK paper, deckled edges Edition: 100; signed, titled, dated and numbered in pencil Sheet: 23 3/5 × 30 i...

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...

Raul Anguiano (Mexico, 1915-2006) 'Retrato', 2001 aquatint on paper 15.6 x 12.6 in. (39.5 x 32 cm.) Edition of 50 ID: ANG-201 Unframed

Pop art scene of abstracted Greek pillars and green leaves. Drawings in black and white, pale blue, red and grey compose this colorful print. Layers of p...

The Haunted Castle (from Six Fairy Tales from the Brothers Grimm) Etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Paper 17.5 x 12.25 in. / 45 x 31 cm Plate 14 ...

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...

An abstract black and white shadowbox drawing of a Greek column, with a unique handmade, hand printed, leather brown wood grain frame. According to Roberta Smith, Michael Hurson "......

This tenderly illustrated print depicts a black dog sitting comfortably on the lawn. A low fence and a bench can be seen in the background. Plants grow along the sides of the lawn, b...

Hand signed, dated and numbered by the artist. EP edition. Image size: 11.75 x 8.75 inches. Artwork is in excellent condition. Certificate of authenticity included. All reasonable o...

Artist: Janusz De Rola (Polish, 1906-1991) Title: "Un Soir a Paris" *Signed by De Rola in pencil lower right Year: 1990 Medium: Original Lithograph on Rives BFK paper Limited edition: 31/125 Printer: Unknown Publisher: Vision Nouvelle, Paris, France Sheet size: 30" x 22" Image size: 25.5" x 19" Condition: Never framed, has been professionally stored away for decades. In mint condition Extremely rare Notes: Provenance: private collection - Paris, France. Rives BFK watermark lower right. Biography: Janusz de Rola (1906-1991) was born in Poland to a family of the princely nobility. His father is friends with the Emperor of Austria-Hungary the famous Franz Joseph. Having studied at Vienna (Austria), he entered the diplomatic service as vice-consul of Poland in Sicily and is pursuing a cultural and diplomatic career until 1939. A volunteer in 1939 in the Polish forces fighting alongside the French troops, the hazards of war led him to Nice. He will live there after the armistice, to meet with his wife. Then he will live in Vienna in the 1960s (Salesianer Gasse 7), then in the Var, Pignans (the field of Cressonniere from 1971) and finally in Gonfaron from 1981 until his death in 1991. He holds a "Nansen Passport", he will remain stateless after the war. Between 1940 and 1950 he was a pupil of the painter Sylvain Vigny. He joins a group where Picasso whose face he meets. Since the fifties of Janusz ROLA imposes his figurative painting, including his famous "elegant" works acquired by larger collections. In the early 1970s he met the painter Roger Boubenec who became his friend and who said of him: "He was the man of Europe. Painter, poet, musician To him I owe the visual sense the composition ". Janusz from ROLA received the title of Artist of the Year 1986 awarded by the largest German magazine in the cultural field, "Madame". In 1987 the South Art magazine wrote an article in the first issue. Salvatore Lombardo, founder of the magazine, will honor him in a small book published in 1991. official portraitist of the Saudi royal family has also produced portraits of Sophia Loren...