Continental Europe - Animal Prints

David Shrigley (British, 1968) I’ve Heard About Freedom + Do Not Eat Him, 2022 Medium: Set of two digital prints on paper Dimensions: 70 x 50 cm (27 3/5 × 19 7/10 in) Edition of 250:...

Max Ernst - Elektra Lithograph 1939 Dimensions: 32 x 24 cm Signed in the plate From XXe siècle Unsigned and unumbered as issued

Mid-century French transatlantic liner menu with printed illustration by French artist Jean Adrien Mercier. Signed in the print, top left and dated 1956 inside centre. This highly c...

Marino Marini - Rider - Original Lithograph 1955 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

(after) Raoul Dufy Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Dimensions: ...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Takeru Amano (Japanese, b. 1977) The Dog, 2022 Medium: Screenprint on 300gsm Somerset satin rag paper Dimensions: 27 1/5 × 27 1/5 in 69 × 69 cm Edition o...

ANONYMOUS (20th century) Café Collas, Pearls of the Indies, 1927 Original lithograph poster (La Semeuse workshop) On paper, 113 x 74 cm (c. 45 x 30 in) INFORMATION: Beautiful vinta...

Robert BONFILS The lover's interlacing, 1920 Original woodcut Handsigned in pencil Numbered /105 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagie...

(after) Raoul Dufy Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Di...

after Georges Braque Oiseaux Color Pochoir on Paper Published in the deluxe art review, XXe Siecle (issue number 11 "Les nouveaux rapports de l'art et de la nature") 1958 Dimensions:...

Paul JOUVE (1878-1973) Soldat apercevant la panthère, c. 1949 Gravure originale à l'eau-forte (atelier Haasen) Non signée Sur vélin 32.5 x 25 cm INFORMATION : Gravure créée pour le...

Mid 18th century hand coloured copper plate engraving of an equestrian subject by Johann Elias Ridinger. Initial signed 'in the plate' bottom right. Presented in a fine gilt wood fra...

Francois-Xavier Lalanne (1927-2008) Le Canard, 2004 Original print (aquatint and soft varnish) hand signed in pencil by François Xavier Lalanne and untitle...

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...

Le Chasseur Fortune Engraving framed Bez.: C. Van Falenz pinixit // Jac. Ph. Le Bas Sculp. // a Paris chez Le Bas graveur du Cabinet du Roy au bas de la rue de la Harpe...

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...

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...

Pierre AMBROGIANI (1907-1985) Wolves, 1974 Original Lithograph (Gourdon Workshop) Signed with the artist's stamp On vellum 38 x 28 cm (c. 14.9 x 11 in) Excellent condition

François Xavier Lalanne Cerberus - 2005 Signed Pigment printing Dimensions: 28 x 38 Engraving dimensions: 18.5 x 23

Lithograph on Sicar paper 310 gr/m2, paper size 35cm x 50cm, work size 24cm x 38cm. Excellent condition, no defects. Cynthia Segato was born in Rome in 1958. She graduated in Astron...

Honoré Broutelle The Untamed Bull, 1922 Original woodcut Handsigned in pencil Numbered /154 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de ...

Henri AMEDEE-WETTER (1869-1929) Shepherdess and her Sheep, 1920 Original woodcut Handsigned in pencil Numbered /105 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of...

Statimque Tobias visum recepit ("And immediately Tobit revovered his sight") is an artwork realized in 1964. It is part of Biblia Sacra vulgatæ editionis published by Rizzoli-Mediola...

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Joana Vasconcelos Crocheted Creatures Haendel 2023 Archival pigment print 146.3 × 111.76 cm (57.6 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the use of crochet and the compartmentalisation of forms, Vasconcelos reiterates the concept that individuals frequently behave and exist separately from their conscience, showing a lack of sufficient scrutiny of their perceptions. The paradox of lace is highlighted, as it served as a means for Portuguese women to address the emptiness in their lives, representing the sole form of expression in response to an entirely passive social...

Monkey is an original artwork realized by Alberto Mastroianni in 1970 ca. Lithograph. Hand Signed. Edition of 150 pieces.

Vincent HADDELSEY (1934-2010) Horse : The race, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Edition 5 A Crocodile with the Basquiat crown. JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fine British sense of humour,
he addresses stereotypes of modern society and his work, both playful and profound, stimulates us to question conventional social conceptions. JAY-C is a barometer responding to the world around us. Having had his first solo exhibition in 2018, in the same year he did a collaboration with BoConcept on their iconic Imola chair...

Includes a Certificate of Authenticity

Numbered 18/20 Work on paper Red wooden frame with glass pane 44 x 59 x 1,5 cm

The artwork will be sent unframed Linocut print „Murmurations 4/2” 2021 Linocut colorful print technique Linocut from 2 matrices Limited edition, print unique number 2/12 Paper Fabri...

Alfred LATOUR (1888-1964) Art Deco Landscape : The Bridge in Brittain, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the bl...

Maurice BUSSET (1879-1936) Peasants in Front of a Castle, 1928 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of ...

Vincent HADDELSEY (1934-2010) Horse : The Race, 1974 Original Lithograph Handsigned in pencil Numbered / 50 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Bird is a lithograph by Aldo Turchiaro, realized in 1980. Hand-signed on the lower right. Numbered, edition XII/XXV. Good conditions except for aged margins.

"Kitsch Floral Portrait with Doll and Clock on Green Background" is a limited edition high-quality Dibond direct UV Print, part of the celebrated "Fetiches" series by Natasha Lelenco...

The lion is a wonderful black and white etching on thick laid paper, realized by the Italian master Antonio Tempesta (1555-1630). Not signed. In excellent conditions. Including a...

Image dimensions: 38.2 x 45.7 cm. Girl and Pigs is an original etching, hand-colored, d'après George Morland. Interesting artist's proof by William Ward ...

Max ERNST Surrealist Composition : Après-moi le XX° siècle, 1971 Original lithograph in colours Unsigned On wove paper 31 x 24 cm (c. 12,2 x 9,4 inches) REFERENCES : Catalogue rais...

MEDIUM : Lithograph PRINTER : Atelier Art-Litho EDITOR : Armand ISRAEL, Paris SIGNATURE : Printed LIMITED : 399 copies unumbered PAPER : Arches vellum SIZE : 18 x 23" CONDITION : Ex...

Max ERNST Birds Original lithograph, 1963 on vellum 33 x 25 cm REFERENCES : Catalogue raisonné Leppien/Spies # 88 Excellent condition

‘Non-Fungible Reality’, oil and acrylic on birch panel, 90x90cm (100x100cm with frame) .This piece took over 100 hours to paint and has many layers of meaning. It’s depicts a stunnin...

Marc Chagall Fables : The Bird Harmed by an Arrow , 1952 Original etching Printed signature in the plate Numbered 61 / 85 On Montval vellum 39 x 28 cm (c. 15 x 11 in) With COA of th...

Minotaur is an original etching artwork by Marcel Chirnoaga (Romanian, 1930–2008) one of the most important artists of fantasy painting and mythology subjects in the XX century. The...

Swan is an original etching on paper realized by an unknown artist of the XIX century. The State of preservation is very good. Sheet dimension: 29 x 22.5 cm. The artwork represen...

Edition 5 Flintsone Dino in Basquiat Style. JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and...

after Salvador DALI (1904-1969) France : Auvergne, 1969 Lithograph and heliogravure Printed signature in the plate bottom right Tall model, from the 700 unumbered edition Printed in...

Hand Signed. Edition of 150 pieces.

Hand signed. Editions of 260 prints numbered and hand signed. Excellent conditions. Zhou Zhiwei He was born in Shangai in 1954 and started to paint when he was 9 years old. he was a disciple of two famous chinese painters...

This limited-edition Dibond UV print belongs to Natasha Lelenco’s Fetiches series, an artistic exploration of portraiture intertwined with organic motifs. Numbered 24 of 25, each pri...

Part of Natasha Lelenco’s Fetiches series, this high-quality limited edition Dibond UV print encapsulates the fusion of portraiture and botanical elements that defines her artistic l...

Vincent HADDELSEY (1934-2010) Horse : Mexican Riders, 1974 Original Lithograph Handsigned in pencil Numbered / 100 On Arches vellum 53 x 38 cm (c. 23 x 15 in) Excellent condition

Edition 5 JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fine British sense of humour, 
he ...

"Floral Portrait with Tulip on Green Background" is an original limited edition high-quality Dibond direct UV Print of the Natasha Lelenco`s artwork titled "Scatsong". This piece, like the entire "Fetishes" series, is inspired by the idea of biophilia and the belief that, according to the artist, humanity must be repositioned as just one part of nature rather than its center. Based on Natasha Lelenco's original acrylic on canvas artwork created in 2021, each print, numbered 25 of 25, captures a vibrant fusion of floral elements and anthropomorphic forms. The result is a visually striking and emotionally resonant piece. It is worth noting that the original artwork from which this limited edition print is derived is still available and can be purchased on 1stdibs. Lelenco has subtly hand-finished each print, sometimes adding small details or enhancing the background colors. The prints are varnished, signed, and numbered on the back, and come ready to hang with a simple system that gives the impression of the artwork floating on the wall. Customers also have the option to frame it if they prefer. The artwork presents a striking silhouette composed of lush green leaves, a pink tulip, and other floral elements, set against a vivid green background. This combination of vibrant colors and intricate details showcases Lelenco's talent for transforming natural elements into extraordinary compositions, inviting viewers to explore the deeper connections between nature and human identity. The high-quality Dibond direct UV Print, finished and varnished by the artist herself, ensures durability and color quality, making this piece a lasting and valuable addition to any art collection. This edition is part of the "Fetiches" series, created by Lelenco since 2021, designed to work individually or as part of multiple panels with other pieces from the same series. Natasha Lelenco's "Fetiches" series blends portraiture and anthropomorphic forms through a meticulous accumulation of elements. These components intertwine with nuanced thematic exploration, touching upon both kitsch and popular iconography, while delving into the inseparable connection between humanity and the broader living community. Drawing from her personal biography, Lelenco constructs a dialogue between memory and imagery. Through a skillful process, she resurrects fragments of her past to craft fresh narratives that challenge conventional perceptions of existence. This narrative depth, coupled with psychological complexity, echoes classical influences, seamlessly bridging the gap between Renaissance portraiture and contemporary expression. Notably, Lelenco's "Fetiches" series reflects the artistic echoes of Italian painter Giuseppe Arcimboldo. Keywords: Scatsong, Floral Portrait, Green Background, Tulip, Biophilia, Anthropomorphic Art...

Etching and aquatint realized by Henry Alken in 1846. Plate from "The Analysis of the Hunting Field". Very good condition. Henry Alken (1765-1851) was en english painter and engrav...

Etching and aquatint realized by Henry Alken in 1846. Plate from "The Analysis of the Hunting Field". Very good condition. Henry Alken (1765-1851) was en english painter and engrav...

The horse "Lampo" is a modern artwork realized by Giorgio De Chirico in 1971. Mixed colored lithograph. Hand signed, titled and numbered on the lower margin. Edition of 30/48 inc...