Stefano Della Bella Prints and Multiples

Presenting a monumental original etching by French artist Albert Decaris. Decaris won many honors in France during his extensive career. "Leda and the Swan", depicts the mythologi...

"Ypres, Grand Ville Riche & Marchande" is an engraving and etching by Daniel Marot (le Vieux) (1661–1752). It depicts a view of the siege of the city of Ypres and its citadel on the left in the Spanish Netherlands by Louis XIV's troops. This battle took place between March 18 and March 25, 1678, as part of the Franco-Dutch War. Marot illustrated in great detail (best appreciated with magnification) the French attack on the strong pentagonal citadel on the extreme left, which had been built recently in anticipation of a French attack. The trenches built by the French approaching the town are seen on the right. King Louis XIV can be seen in the foreground surveying the battle mounted on his white horse, surrounded by his officers and troops. The print is presented in an attractive ornate black wood frame with a cream-colored double mat with a black inner trim. It is glazed with plexiglas. The frame measures 25.38" x 22.63" x .88". The engraving, frame, mat and glazing are in excellent condition. Artist: Daniel Marot (1661–1752) was also called "Le Vieux". He was the son of the famous architect, Jean Marot. Marot had diverse interests and talents. In addition to his art, he designed garden projects, architectural ornaments, furniture, and even upholstery. Marot as a Huguenot protestant was forced to leave France in 1685 following the revocation of the Edict of Nantes. He emigrated to Holland, where he worked for William of Orange (an arch enemy of his former employer Louis XIV). Marot was largely responsible for the interiors of Williams palace at the Loo. In 1694 he went Britain as William had married Queen Mary and he had become King William III of England. He later returned to Holland in about 1698 and died in the Hague in 1752. He left a lasting legacy on the decorative arts in the Netherlands, where his grand version of the Louis XIV style remained popular into the 1730s. Historical Background: In October 1677, Mary Stuart, niece and possible successor of Charles II of England, married Louis XIV's arch enemy William III of Orange...

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...

A magnificent forest scene with lush, vast foliage along a brook by a master of the Dutch Golden Age. Amsterdam: c1650. Etching on cream laid paper, 5 1/8 x 5 3/4 inches (130 x 147 ...

Salvador Dali - Corrida - Vintage Poster with Etching Etching made behind a menu in Restautant Duran as a tribute dinner to Salvador Dali and his wife Ga...

Etching on handmade cream laid paper with a deckle edge, and an elaborate and large watermark of a crowned figure with a harp, and letters A S, 11 3/4 x 8 inches (298 x 204 mm); shee...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Artist: Colen Campbell (Scottish, 1676-1729) Title: "Royal Hospital att Greenwich to the River" (Vol. 1, Plates 86, 87) Portfolio: Vitruvius Britannicus; or The British Architect, Co...

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta della Basilica di S. Lorenzo fuor della mura" (Basilica of San Lorenzo Outside the Walls), published in Rome in 1750 in Piranesi's Vedute di Roma (Views of Rome), This etching depicts the Basilica of San Lorenzo Outside the Walls, which is a Roman Catholic papal basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five "papal basilicas". It was built as a shrine to the martyred Roman deacon St. Lawrence. This Piranesi etching is held by many museums and institutions, including: The Metropolitan Museum, The British Museum, The National Gallery of Art, The Yale University Art Gallery, and The Harvard Museum of Art. This magnificent etching is presented in a brown-colored wood frame and a tan French...

This large framed 18th century etching by Giovanni Battista Piranesi entitled "Veduta del Mausoleo d'Elio Adriana ora chiamato Castello S. Angelo nella parte opposta alla Facciata de...

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...