Geneva - Animal Prints

Marc Chagall Original Lithograph Title: The Green Horse 1973 Dimensions: 33 x 50 cm Reference: This lithograph was created for the portfolio "Chagall Monu...

After PABLO PICASSO (1881-1973) Peace Dove 1961 Dimensions: 65 x 50 cm Signed and dated in the plate Edition Succession Picasso, Paris (posthumous reproductive edition) Editions de l...

Lithograph after Salvador Dali Title: S.N.C.F Blind stamped signature Dimensions: 46.5 x 34 cm Edition: 1700 Numbered in pencil 1969 References : Catalogue raisonne Michler & Lopsi...

Rare Original Etching by Salvador Dali Title: Don Quixote and Sancho Signed Dimensions: 76 x 56 cm Edition of 200 on Auvergne 1980 References : Field 68-1 / Michler & Lopsinger 266

Salvador Dali - Cherries - Original Hand-Signed Lithograph Dimensions: P. 57 x 37 cm Sheet: 75 x 56 cm Handsigned Edition: EC.d (collaborator edition "d") Excellent Condition Refer...

Pablo Picasso - Original Lithograph La Petite Corrida (The Small Bullfight) 1958 Edition of 2000, unsigned Published in the journal XXe Siecle Dimens...

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

Original Lithograph by Jean Cocteau Title: Torero's Son 1961 printed signature in the stone Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" p...

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...

Original Lithograph by Picasso Atelier Mourlot. Paper: Vélin. Dimensions : 9 5/8 x 12 7/16 inches Picasso is not just a man and his work. Picasso is always a legend, indeed almos...

Jean Arp - Original Lithograph 1951 Dimensions: 32 x 24 cm From the art revue XXe siècle Unsigned and unumbered as issued

Emilio Vedova - Original Lithograph Abstraction 1961 From the art revue XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unumbered as issued

Paul Jouve - Eagle - Original Engraving Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Artwork by Paul Jouve. Original copper engraving heightened with pochoir. Paul...

Marc Chagall Original Lithograph Title: Couple With a Goat 1970 Dimensions: 32 x 24 cm From the art revue XXè siècle Reference: Mourlot #608 Unsigned and unumbered as issued

Marino Marini - Knight - Original Lithograph 1968 Dimensions: 32 x 48 cm From the art review XXe siècle Unsigned and unumbered as issued

Marino Marini - Horses - Original Lithograph 1951 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

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...

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

Original Lithograph by Jean Cocteau Title: The Elegant Toreador 1961 Dimensions: 28 x 38 cm Lithograph made for the portfolio "Gitans et Corridas" published by Société de D...

Lithograph numbered and signed by hand 19/60 edition From Israel collection

SALVADOR DALI Le Cerf se voyant dans l'eau from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 in...

(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: ...

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...

Wassily Kandinsky - Horse Knight - Original Etching 32 x 24 cm 1966 From the art review XXe siècle, San Lazzaro Unsigned and unumbered as issued

Lithograph after Georges Braque. Signed in the plate Edition of 150 Dimensions: 76 x 117 cm Bibliography: « Les Métamorphoses de Braque» of Heger de Loewenfeld and Raphaël de Cuttoli , Editions FAC, Paris, 1989. In 1961 Georges Braque decided with his laidary friend Heger de Loewenfeld to pick up certain of his works to in order to create artworks, this beautiful litograph is one of them. Héméra in the Mythology: In Greek mythology Hemera was the personification of day and one of the Greek primordial deities. She is the goddess of the daytime and, according to Hesiod, the daughter of Erebus and Nyx (the goddess of night). Hemera is remarked upon in Cicero's De Natura Deorum, where it is logically determined that Dies (Hemera) must be a god, if Uranus is a god. The poet Bacchylides states that Nyx and Chronos are the parents, but Hyginus in his preface to the Fabulae mentions Chaos as the mother/father and Nyx as her sister. She was the female counterpart of her brother and consort, Aether (Light), but neither of them figured actively in myth or cult. Hyginus lists their children as Uranus, Gaia, and Thalassa (the primordial sea goddess), while Hesiod only lists Thalassa as their child. 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...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

Lithograph after an original gouache by Salvador Dali for the Societe Nationale des Chemins de Fer Title: S.N.C.F. (Butterfly Suite) Embossed signature Dimensions: 46.5 x 24 cm Edit...

Salvador Dali - The Rider and the Deer - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 3...

SALVADOR DALI The Oak and the Reed (La chêne et le roseau) from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 Conditions: A small tear defect has been restaured...

SALVADOR DALI Le Cerf Malade from Le Bestiaire de la Fontaine 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Refer...

“Le Picador II” from the book Sabartés, “A los Toros avec Picasso“ 1961, from the edition of unknown size, printed by Mourlot Frères, Paris, published b...

(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...

Artist: Pablo Picasso (after) Medium/publication: One of 29 lithographic reproductions after original drawings as published in the book Paul Eluard, "Le visage de la paix" (Paris: Ed...

Wassily Kandinsky - Composition - Original Woodcut Condition: excellent 32 x 24 cm 1959 Published by XXe siècle, San Lazzaro Printed signature (monogram) in the plate Unnumbered as i...

Work on paper Ed: 63/75

Henry Moore - Original Lithograph 1977 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Artist: Pablo Picasso (after) Medium: Lithograph Portfolio: Visage de la Paix Year: 1951 Edition: 2050 Sheet Size: 29,5 x 22,5 cm It was produced under the direct supervision of Pabl...

After Pablo Picasso The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve" Printed signature and date Dimensi...

(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: ...

(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: ...

Marino Marini - Knight - Original Lithograph 1967 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Max Ernst - Birds - Original Lithograph Birds, 1962 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 Di...

Reproduction of poster against signed and numbered 30/100

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...

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

Marino Marini - Horse and Rider - Original Lithograph 1963 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Paul Jouve - Chimpanzee - Original Engraving Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Artwork by Paul Jouve. Original copper engraving ...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

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

Original Lithograph by Jean Cocteau Title: Artaban 1961 signed in the stone/printed signature Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" ...

Jules Pascin - Little Red Riding Hood - Original Lithograph Conditions: excellent 32 x 24 cm 1938 From the art review XXe siècle, San Lazzaro Un...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst - Birds - Original Lithograph Birds, 1964 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

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...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper It was produced under the direct supervision of Pablo Picasso Portfolio: Le Goût de Bonheur...

César Baldaccini Original Etching Dimensions: 56.5 x 40 cm Signed and Numbered Edition of 99 It is the only original etching ever made by César. César Baldaccini was born in Marseille in 1921. At the age of 12, he left the school to help his father, cooper. At 15 years old, he studied at the Art college of Marseille. He took evening drawing teachings, and then was interested in sculpture until 1939. In 1942, César received a scholarship and went to Paris. He studied ten years at the School of Beaux-Arts; he worked in the studios of Gaumont and Alfred Jeanniot and was named “Grand Massier” (teacher) of this school. At that time, he was living in the same house as Alberto Giacometti. In 1944, short of resources, he went to Marseille, then return to Paris, next year. With the 50s, he made discovered his work through his first exhibitions. One of its works (« The fish ») obtained a place in the Museum of Modern Art in Paris (1955). Henceforth, he exhibited ceaselessly, participating in numerous “Salons” in France and abroad. César received numerous prices there. He got personal exhibitions everywhere (Japan, the United States, Holland, France, Italy, etc.). Important retrospectives came, later. In 1970, he was named professor a foreman to the School of Beaux-Arts in Paris. During his all life, Caesar was stimulated by « the love of the profession » and by an extraordinary will to innovate. The humor of the man did not miss and was noticed through his work. Pablo Picasso was his major reference, also Alberto Giacometti, Germaine Richier, Pablo Gargallo and Julio Gonzales...

Max Ernst - Birds - Original Lithograph Birds, 1964 (BNF, 63) Dimensions: 32 x 24 cm Revue Art de France ax Ernst was born in Bruhl, a place near Cologne, in Germany. He was raised in a strict Catholic family, and both of his parents were disciplinarians who were dedicated to training their children into God-fearing and talented individuals. Although his father was deaf, Ernst learned so much from him, particularly when it comes to painting. In fact, much of his early years were lived under the inspiration of his father who was also a teacher. He was the one who introduced painting to Ernst at an early age. In 1914, Ernst attended the University of Bonn where he studied philosophy. However, he eventually dropped out of school because he was more interested in the arts. He claimed that his primary sources of interest included anything that had something to do with painting. Moreover, he became fascinated with psychology, among other subjects in school. Primarily, Ernst's love for painting was the main reason why he became deeply interested with this craft and decided to pursue it later on in his life. During his early years, he became familiar with the works of some of the greatest artists of all time including Claude Monet, Paul Cezanne and Vincent van Gogh. He was also drawn to themes such as fantasy and dream imagery, which were among the common subjects of the works of Giorgio de Chirico. During World War I, Ernst was forced to join the German Army, and he became a part of the artillery division that exposed him greatly to the drama of warfare. A soldier in the War, Ernst emerged deeply traumatized and highly critical of western culture. These charged sentiments directly fed into his vision of the modern world as irrational, an idea that became the basis of his artwork. Ernst's artistic vision, along with his humor and verve come through strongly in his Dada and Surrealists works; Ernst was a pioneer of both movements. It was Ernst's memories of the war and his childhood that helps him create absurd, yet interesting scenes in his artworks. Soon, he took his passion for the arts seriously when he returned to Germany after the war. With Jean Arp, a poet and artist, Ernst formed a group for artists in Cologne. He also developed a close relationship with fellow artists in Paris who propagated Avant-Garde artworks. In 1919, Ernst started creating some of his first collages, where he made use of various materials including illustrated catalogs and some manuals that produced a somewhat futuristic image. His unique masterpieces allowed Ernst to create his very own world of dreams and fantasy, which eventually helped heal his personal issues and trauma. In addition to painting and creating collages, Ernst also edited some journals. He also made a few sculptures that were rather queer in appearance. In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara. In 1922 Ernst moved to Paris, where the surrealists were gathering around Andre Breton. In 1923 Ernst finished Men Shall Know Nothing of This, known as the first Surrealist painting. Ernst was one of the first artists who apply The Interpretation of Dreams by Freud to investigate his deep psyche in order to explore the source of his own creativity. While turning inwards unto himself, Ernst was also tapping into the universal unconscious with its common dream imagery. Despite his strange styles, Ernst gained quite a reputation that earned him some followers throughout his life. He even helped shape the trend of American art during the mid-century, thanks to his brilliant and extraordinary ideas that were unlike those of other artists during his time. Ernst also became friends with Peggy Guggenheim, which inspired him to develop close ties with the abstract expressionists. When Ernst lived in Sedona, he became deeply fascinated with the Southwest Native American navajo art. In fact, the technique used in this artwork inspired him and paved the way for him to create paintings that depicted this style. Thus, Ernst became a main figure of this art technique, including the rituals and spiritual traditions included in this form of art. Pollock, aside from the other younger generations of abstract expressionists, was also inspired by sand painting of the Southwest...