Guillaume Azoulay

Images, suite of 4 etchings.

c.1990

This Artwork Titlled "Last Year at Marraketch" 1972 is an original color etching and aquatint on B.F.K Rives paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 3/40 in pencil by the artist. The plate mark (image) size is 15.25 x 19.5 inches, sheet size is 21.75 x 29.65 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

This Artwork Titlled "Hellas" 1974 is an original color etching and aquatint on Arches paper by noted American artist Clinton Blair King, 1901-1979 It is hand signed, dated, titled, dedicated and numbered 26/50 in pencil by the artist. The plate mark (image) size is 17.5 x 22.75 inches, sheet size is 22 x 29.85 . It is in very good condition. The work of Clinton Blair King is held in many corporate, private collections and museums, among them: The Metropolitan Museum of Art, New York, Museum of New Mexico, Smithsonian Museum of Art, Washington and National Gallery of Art, Washington. About the artist: EDUCATION 2005 MFA Sculpture: School of the Art Institute of Chicago 2000 BFA Painting: Columbus College of Art and Design SOLO EXHIBITIONS 2016 SPECTRAL EVIDENCE, Stellan Holm Gallery, New York City, NY 2015 OPEN ENDED, Transmitter, Brooklyn, NY. 2008 APATHY, Shiraya Art Space, Tokyo Japan​ 2001 FOR THE TIME BEING, Ohio Art League, Columbus, OH GROUP ExHIBITIONS 2017 YELLOW CHAIR, David & Schweitzer Contemporary, Brooklyn, NY DECONSTRUCTED Terrault Gallery, Baltimore MD TRANSCENDENCE OF US, Trans-cen-der space, Brooklyn NY 2016 THIS STRANGE GAME, Landmark Arts Building, Chelsea, NY STONE SOUP NASTY, Orgy Park, Brooklyn, New York, NY COLD SUMMER, Curated by Peter Shear, The Provincial, Chief, Michigan "TIKI" Helper Gallery, NADA art fair, Miami FL 2014 BRUTE MODERATES, with Peter Shear, Firework Gallery, Brooklyn, NY BROOKLYN BRIDGE, Curated by Justine Frischmann. George Lawson Gallery. SF, CA SUDDENLY THERE, Garis and Hahn, Bowery NYC DO IT YOURSELF, Curated by Julie Torres / Julia Schwartz B.O.S. Brooklyn NY LOOK & LISTEN, Curated by Yifat Gat. Espace Art / Galerie & Ateliers. Marseille France SORRY I"M LATE, Brooklyn Fireproof. Brooklyn NY. 2013 WHAT I LIKE ABOUT YOU, Parallel Art space, Brooklyn, NY DONUT MUFFIN Dorsky Gallery, Long Island City, NYC 2012 ART BLOG "LOVE", One River Gallery, Englewood NJ BUSHWICK BASEL, Jules de Balincourt Studio, Brooklyn NY. ALTER MINIMAL, Lexicon Series Vol. 1, Parallel Art Space, Brooklyn, NY HIATUS, Urban Institute For Contemporary Art, Grand Rapids, MI 2011 I CAN"T GO ON I MUST GO ON, Tempus Projects, Tampa, FL. VIS -A -VIS, Backyard Projects- New York, NY NEITHER A BEGINNING OR END, Possible Projects, Philadelphia, PA 2010 A VAUGE WHOLE, Spaces, with Benjamin Bellas and Steffani Jemison Cleveland, OH 2009 i.e. ARTIST COLLECTIVE, University of Green Bay, WI i.e. ARTIST COLLECTIVE, Boots Contemporary, St. Louis, MO 2008 FLAT BLACK , Zaim Space, Yokohama, Japan. i.e.llusions, Alogon Gallery, Chicago, IL 2007 i.e. BETWEEN, Harold Washington College, Chicago, IL SPLIT ENDS, with Julie Curtiss...

This artwork titled "Nude woman combing Her Hair" is an original etching on wove paper by German/American artist Carl Joseph Bauer, 1895-1964. It is signed in pencil at the lower right corner by the artist. The image (plate mark) size is 5.5 x 5.5 inches, framed size is 19.85 x 19 inches. It is framed in a custom wooden gold frame, with gold color bevel and fabric matting. It is in excellent condition. About the artist. Born in 1895, German painter, etcher and illustrator Carl Joseph Bauer studied at the Academy of Fine Arts in Munich under Wilhelm von Diez and Angelo Jank. Among many others, Bauer exhibited his work at the famous "Glaspalast" (Glass Palace) in Munich and was President of the Allotria Art Association for ten years. From 1914-1928, Bauer created Art Deco style etchings of women and nudes, including Hollywood luminaries Greta Garbo and Norma Shearer...

This artwork titled "La Baigneuse aux Papillons" c.1930 in an etching on paper by French artist Raoul Dufy, 1877-1963. Unsigned as issue. Printed/publishe...

This artwork "Nymph" c.1975 is an original etching by noted American artist Charles Bragg, 1931-2017. It is hand signed, titled and numbered 22/100 in pencil by the artist. The imag...

This artwork titled "Vanity" 1980 is an original sepia etching by American artist Louis Russomanno, b.1946. It is hand signed, titled and numbered 113/185 in pencil by the artist. Th...

- Plate 55 from the Suite 156 - with stamp signature - dated in the plate 2.3.70 - edition 26/50 - cat. raisonné Bloch 1910

Nude is an original etching on creamy paper realized by an Anonymous artist of the mid-20th Century. Good conditions. The artwork represents a white standing nude woman, with a bla...

Nude is an original etching on paper realized in 1972 by Renzo Biasion. Hand-signed on the lower left in pencil. Numbered, edition of 58/100 prints. In very good conditions. The artwork represents a lying down nude through confident and strong strokes. Renzo Biasion and the etching: Renzo Biasion has made his etchings since the 1960s and the dominant features of all his art are visible in them. With a sober language, he represents interiors and landscapes immersed in silence that is stillness not solitude. The artist himself writes about the magic art...

Nude is an original etching realized by an unknown artist in the mid-20th Century. Good conditions except for some foxings. The artwork is depicted through strong strokes in a well...

Roi Pausole is an original etching on ivory paper. glued on cardboard, realized by Marcel Vertès, in 1930s. In good conditions. Image Dimensions: 26.5 x 20 cm This artwork represe...

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 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 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...