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Item Ships From: Geneva
Jean Cocteau - Study for the Wall - Original Handsigned Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Jean Cocteau - Study for the Wall - Original Handsigned Lithograph
Signed in pencil and numbered
Dimensions: 65 x 50 cm
Edition: 150
1956
Category
1950s Modern Geneva - More Prints
Materials
Lithograph
Giuseppe Capogrossi - Stencil
By Guiseppe Capogrossi
Located in Collonge Bellerive, Geneve, CH
Giuseppe Capogrossi - Stencil
1958
Dimensions: 32 x 25 cm
Edition: G. di San Lazzaro.
Giuseppe Capogrossi
B. 1900, ROME; D. 1972, ROME
Giuseppe C...
Category
1950s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Marc Chagall - The Ballet, Frontispiece
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
The Ballet, Frontispiece for the book “Daphnis and Chloe” Lithograph in colors, 1969. Unsigned and unnumbered, as issued from an edition of 10,000.
Printed ...
Category
1960s Surrealist Geneva - More Prints
Materials
Lithograph
Jean Cocteau - Christ - Original Handsigned and Handcolored Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Jean Cocteau - Christ - Original Handsigned and Handcolored Lithograph
Signed in the plate
Handsigned and dated in color pencil.
Handcolored in pencil.
Dimensions: 50.5 x 33 cm
1957
...
Category
1950s Modern Geneva - More Prints
Materials
Lithograph
Jean Cocteau - King Oedipus - Original Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Jean Cocteau - King Oedipus - Original Lithograph
1956
Signed in the plate
Dimensions: 66 x 50 cm
Provenance : Succession Dermit, Cocteau's heir
Category
1950s Modern Geneva - More Prints
Materials
Lithograph
Joan Miro - The Party - Original Lithograph
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - The Party - Original Lithograph
Artist: Joan Miro
Editor: Maeght
Year: 1956
Dimensions: 23 x 38 cm
Reference: Mourlot 236
A unique collaboration between Miró (responsible for the central image), the art critic...
Category
1950s Abstract Geneva - More Prints
Materials
Lithograph
Joan Miro - Original Lithograph
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Reference : Mourlot 1106
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Unsi...
Category
1970s Abstract Geometric Geneva - More Prints
Materials
Lithograph
Joan Miro - Plate IV from Espriu -Etching
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro Plate IV from Espriu.
Year: 1975
Handsigned in pencil
Edition: HC (Hors Commerce) aside from the edition of 50.
On watermarked Sala Gaspar
Publisher : Sala Gaspar, Barcelo...
Category
1970s Abstract Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Signed Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Signed Etching
1994
Dimensions: 41 x 33 cm
Signed and numbered in pencil
Edition: /60
From Près du mur
Jean Miotte, 1926 - 2016
Miotte came of artistic age i...
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Etching
1998
Dimensions: 41 x 33 cm
Edition: /40
From La Déchirure
Jean Miotte, 1926 - 2016
Miotte came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on both sides of the Atlantic as the contemporary artistic language. The term, "L'Art Informel," was coined by the French critic, Michel Tapi, to connote "without form." The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of post war Europe where abuse of morals and fascist ideology had led to such horror and destruction.
While Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart, by a loss of faith in progress and the collective possibilities of an avant garde. Rather the artists who came to be grouped as Informel, Jean Miotte, Jean-Paul Riopelle, Emil Schumacher...
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Signed Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Signed Etching
1994
Dimensions: 41 x 33 cm
Signed and numbered in pencil
Edition: /60
From Près du mur
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Etching
1998
Dimensions: 41 x 33 cm
Edition: /40
From La Déchirure
Jean Miotte, 1926 - 2016
Miotte came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on both sides of the Atlantic as the contemporary artistic language. The term, "L'Art Informel," was coined by the French critic, Michel Tapi, to connote "without form." The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of post war Europe where abuse of morals and fascist ideology had led to such horror and destruction.
While Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart, by a loss of faith in progress and the collective possibilities of an avant garde. Rather the artists who came to be grouped as Informel, Jean Miotte, Jean-Paul Riopelle, Emil Schumacher...
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Signed Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Signed Etching
1994
Dimensions: 41 x 33 cm
Signed and numbered in pencil
Edition: /60
From Près du mur
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Etching
1998
Dimensions: 41 x 33 cm
Edition: /40
From La Déchirure
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Etching
1998
Dimensions: 41 x 33 cm
Edition: /40
From La Déchirure
Jean Miotte, 1926 - 2016
Miotte came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on both sides of the Atlantic as the contemporary artistic language. The term, "L'Art Informel," was coined by the French critic, Michel Tapi, to connote "without form." The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of post war Europe where abuse of morals and fascist ideology had led to such horror and destruction.
While Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart, by a loss of faith in progress and the collective possibilities of an avant garde. Rather the artists who came to be grouped as Informel, Jean Miotte, Jean-Paul Riopelle, Emil Schumacher...
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Alberto Giacometti - Portrait
By Alberto Giacometti
Located in Collonge Bellerive, Geneve, CH
Alberto Giacometti - Portrait
Engraving (after the drawing)
Published in the deluxe art review, XXe Siecle
1956
Dimensions: 32 x 24 cm
Publisher: G. di San Lazzaro.
From the art Re...
Category
1950s Modern Geneva - More Prints
Materials
Engraving
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Lithograph
1971
Dimensions: 32 x 24 cm
Edition: G. di San Lazzaro.
From the art review XXe siècle
Unsigned and unnumbered as issued
Category
1970s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Jean Miotte - Abstract Composition - Original Signed Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Signed Etching
1994
Dimensions: 41 x 33 cm
Signed and numbered in pencil
Edition: /60
From Près du mur
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean Miotte - Abstract Composition - Original Etching
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Etching
1998
Dimensions: 41 x 33 cm
Edition: /40
From La Déchirure
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Etching
Raoul Ubac - Rythm - Original Woodcut
By Raoul Ubac
Located in Collonge Bellerive, Geneve, CH
Raoul Ubac - Rythm - Original Woodcut
Title: Rythm
Dimensions: 32 x 24 cm
Revue Art de France
The painter-sculptor Raoul Ubac was born in 1910 in Malmédy (Ardennes, Belgium). He wen...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Woodcut
Marc Chagall - Hommage à Julien Cain - Original Lithograph
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall - Original Lithograph
Frontispiece for André Dunoyer de Segonzac, and Julien Cain. "Humanisme Actif: Mélanges d'Art et de Littérature Offerts à Julien Cain." Paris: H...
Category
1960s Surrealist Geneva - More Prints
Materials
Lithograph
Léon Zack - Snow - Original Handsigned Lithograph
By Léon Zack
Located in Collonge Bellerive, Geneve, CH
Léon Zack - Snow - Original Handsigned Lithograph
1969
Handsigned in pencil and numbered
Edition of 22
32.5 x 25 cm
Léon Zack (1892-1980)
Léon Zack was a Ru...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Marc Chagall - Moses Striking Water from the Rock - Original Handsigned Etching
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall - Moses Striking Water from the Rock - Original Handsigned Etching
1958
Printed by Tériade
Dimensions: 54 x 39 cm
Handsigned and numbered
handcolored
Edition: 100
Reference: Cramer 30.
Marc Chagall (born in 1887)
Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985.
The Village
Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work.
At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well.
Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged.
The Beehive
Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period.
Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come.
War, Peace and Revolution
In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos.
To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia.
In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good.
Flight
After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research.
Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion.
With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way.
Haunted Harbors
Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky.
But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...
Category
1960s Surrealist Geneva - More Prints
Materials
Etching
Paul Jenkins - Composition - Original Lithograph
By Paul Jenkins
Located in Collonge Bellerive, Geneve, CH
Paul Jenkins - Composition - Original Lithograph
1964
Dimensions: 30 x 20 cm
Edition of 200 (one of the 200 on Vélin de Rives)
Mourlot Press, 1964
Paul Jenkins, American (1923 - 2012)
Paul Jenkins, an artist originally associated with abstract expressionism, exhibits in his mature works a redefining of color, light and space on the canvas surface.
Born in Kansas City, Missouri in 1923, Jenkins worked as a teenager in a ceramics factory, where he was first exposed to color intensity and the creation of form. From age 14 to 18, he studied drawing and painting at the city's Art Institute.
Initially interested in drama, Jenkins received a fellowship to the Cleveland Playhouse, then continued his dramatic studies in Pittsburgh at the Drama School of the Carnegie Institute of Technology.
Deciding to become an artist, Jenkins moved to New York City in 1948 and studied at the Art Students League. During Jenkins's three years at the League, Yasuo Kuniyoshi and Morris Kantor were his influential instructors.
While Jenkins continued to live and paint in New York City, his personal explorations took a metaphysical turn, which would ultimately become dominant in his work.
P.D. Ouspensky's The Search of the Miracu/ous changed the artist's thoughts on human growth and limitations, while the Chinese I Ching, through its thematic emphasis on constant change, heightened his interest in flowing paint on canvas. Painting for Jenkins became an intuitive, almost mystical process. He commented, "I paint what God is to me."
In 1953, Jenkins traveled to Paris, where, a year later, he had his first one-man show. While working at the American Artists Center, he continued to experiment with flowing paints, pouring pigment in streams of various thicknesses, with white thin spills as linear overlays.
Jenkins's intent was to deny stasis and create a literal and metaphysical sense of dynamism, while maintaining a sense of unity. Beginning in 1958, Jenkins titled each canvas Phenomena, with additional identifying words. He believed the work to be descriptive of the discovery process inherent in each painting.
Paralleling his beliefs, the artist's paintings have undergone subtle but definite changes. Beginning in the early 1 960s, a shift of color saturation and exposure of the white areas gave Jenkins's canvases an enhanced feeling of illumination.
If Jenkins's technique is unorthodox, he is in many other ways a traditional artist. He works in an acrylic medium on traditional linen canvas or fine rag paper. Often he uses an ivory knife...
Category
1960s Modern Geneva - More Prints
Materials
Lithograph
Marc Chagall - Original Lithograph
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall
Original Lithograph
1963
Dimensions: 32 x 24 cm
Unsigned, as published in "Chagall Lithographe 1957-1962. VOLUME II"
Edition of several thousand
Condition : Excellent
M...
Category
1960s Surrealist Geneva - More Prints
Materials
Lithograph
Antoni Clavé - Original Lithograph - For Pushkin's Queen of Spades
By Antoni Clavé
Located in Collonge Bellerive, Geneve, CH
Antoni Clavé - Original Lithograph - For Alexander Pushkin's Queen of Spades
Dimensions: 325 x 247 mm.
1946
Original lithograph of Antoni Clavé
Edit...
Category
1940s Modern Geneva - More Prints
Materials
Lithograph
Jean Miotte - Abstract Composition - Original Signed Lithograph
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Rare Original Signed Lithograph
Title: Abstract Composition
Dimensions: 76 x 56 cm
Edition: 64/99
Signed and Numbered in pencil
Category
1990s Abstract Expressionist Geneva - More Prints
Materials
Aquatint
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Original Lithograph
1962
From La tentation de l’Occident
Dimensions: 39 x 28.5 cm
Publisher: Les Bibliophiles Comtois
Edition of 170
Reference: Jørgen Ågerup 137 - 146...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first series of etching Lanskoy m...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
Le Jeu des Acrobates, original lithograph from "Chagall Lithographe II"
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall
Original Lithograph
1963
Dimensions: 32 x 24 cm
As published in Chagall Lithographe 1957-1962. VOLUME II.
Unsigned, as issued, from the edition of several thousand
Condition : Excellent
Reference: Mourlot/Gauss 401
Marc Chagall (born in 1887)
Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985.
The Village
Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work.
At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well.
Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged.
The Beehive
Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period.
Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come.
War, Peace and Revolution
In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos.
To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia.
In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good.
Flight
After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research.
Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion...
Category
1960s Surrealist Geneva - More Prints
Materials
Lithograph
Joan Miro - “Plate I” from “Oda à Joan Miró” - Lithograph
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
“Plate I,” from “Oda à Joan Miró,” by Joan Brossa Lithograph in colors, 1973 Signed in pencil and inscribed “H.C.” (presumably one of 10; the total edition was 525) Published by La...
Category
1960s Abstract Geneva - More Prints
Materials
Lithograph
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Material: Made on Lambskin
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first ...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
Serge Poliakoff - Abstract Beach - Original Lithograph
By Serge Poliakoff
Located in Collonge Bellerive, Geneve, CH
Serge Poliakoff - Abstract Beach - Original Lithograph
Published in the deluxe art review, XXe Siecle
1968
Dimensions: 32 x 24 cm
Publisher: G. di San ...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Jean Miotte - Constant Eye I - Original Signed Lithograph
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Rare Original Signed Lithograph
Title: Abstract Composition
Dimensions: 76 x 56 cm
Edition: /66
Hand-Signed in pencil
L'Oeil Constant, Vence, Pierre Chave, 2001.
Category
Early 2000s Abstract Expressionist Geneva - More Prints
Materials
Aquatint
Jean Miotte - Abstract Composition - Original Signed Lithograph
By Jean Miotte
Located in Collonge Bellerive, Geneve, CH
Jean Miotte - Original Signed Lithograph
Title: Abstract Composition
Dimensions: 20 x 16 cm
Edition: 85/180
Signed and Numbered in pencil
Jean Miotte, 1926 - 2016
Miotte came of ar...
Category
1970s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching
1958
Printed by Tériade
Dimensions: 54 x 39 cm
Handsigned and numbered
handcolored
Edition: 100
Reference: Cramer 30.
Etching with hand-coloring, circa 1930, initialled in pencil, numbered 75/100 (there were also twenty hors-commerce copies) , published 1958 by Tériade, Paris, on Arches wove paper
Marc Chagall (born in 1887)
Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985.
The Village
Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work.
At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well.
Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged.
The Beehive
Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period.
Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come.
War, Peace and Revolution
In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos.
To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia.
In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good.
Flight
After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research.
Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion.
With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way.
Haunted Harbors
Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky.
But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...
Category
1960s Surrealist Geneva - More Prints
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Etching
Jean Fautrier - Naked Annabelle - Original Lithograph
By Jean Fautrier
Located in Collonge Bellerive, Geneve, CH
Jean Fautrier - Naked Annabelle - Original Lithograph
1957
Dimensions: 32 x 24 cm
Signed in the plate
From the art review XXe siecle
Unumbered as issued
Category
1950s Abstract Geometric Geneva - More Prints
Materials
Lithograph
Jean Cocteau - The Boxer - Original Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Original Lithograph by Jean Cocteau
Title: The Boxer
Signed in the plate
Dimensions: 32 x 25.5 cm
Edition: 200
1959
Publisher: Bibliophiles Du Palais
Unnumb...
Category
1950s Modern Geneva - More Prints
Materials
Lithograph
The Human Comedy - Lithograph from "Verve"
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
After Pablo Picasso - The Human Comedy - Lithograph from the journal "Verve"
Signed and dated in the plate
Dimensions: 32 x 24 cm
Printed by Mourlot, Paris.
Pablo Picasso
Picasso i...
Category
1950s Modern Geneva - More Prints
Materials
Lithograph
Domergue - Almost Dressed - Original Lithograph
By Jean-Gabriel Domergue
Located in Collonge Bellerive, Geneve, CH
Original Lithograph by Jean-Gabriel Domergue
Title: Almost Dressed
Signed in the plate
Dimensions: 40 x 31 cm
1956
Edition of 197
This artwork is part of the famous portfolio "La Par...
Category
1950s Impressionist Geneva - More Prints
Materials
Lithograph
Marc Chagall - A Midsummer Night's dream - Original Handsigned Lithograph
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall - A Midsummer Night's dream - Original Handsigned Lithograph
1975
Dimensions: Sheet : 97.5 x 71.5 cm Image : 80 x 60 cm
Handsigned and numbered
Edition: 50
Reference: ...
Category
1960s Surrealist Geneva - More Prints
Materials
Lithograph
(after) Robert Delaunay - La Femme et la Tour - Handsigned Lithograph
By Robert Delaunay
Located in Collonge Bellerive, Geneve, CH
(after) Robert Delaunay - La Femme et la Tour - Handsigned Lithograph
Handsigned and numbered by Sonia Delaunay with a dedication to Robert Delaunay
Dimensions: 55 x 33 cm
Circa 1960...
Category
1960s Abstract Geometric Geneva - More Prints
Materials
Lithograph
Alexander Calder - Original Lithograph - from "Derrière le miroir"
By Alexander Calder
Located in Collonge Bellerive, Geneve, CH
Alexander Calder - Original Lithograph - from "Derriere le Miroir"Behind the Mirror
1976
Framed
Dimensions: 38 x 56 cm
Source: Derrière le miroir (DLM), n°141, 1976
Alexander Cald...
Category
1970s Abstract Geometric Geneva - More Prints
Materials
Lithograph
Paul Guimard - New York's Port - Original Lithograph
By Paul Guimard
Located in Collonge Bellerive, Geneve, CH
Paul Guimard - New York's Port - Original Lithograph
1964
Dimensions: 30 x 20 cm
Edition of 200 (one of the 200 on Vélin de Rives)
Mourlot Press, 1964
Category
1960s Modern Geneva - More Prints
Materials
Lithograph
Serge Poliakoff (after) - Composition - Pochoir
By Serge Poliakoff
Located in Collonge Bellerive, Geneve, CH
Serge Poliakoff (after) - Composition - Pochoir
Published in the deluxe art review, XXe Siecle
1956
Dimensions: 32 x 24 cm
Publisher: G. di San Lazzaro.
Unsigned and unumbered as is...
Category
1950s Abstract Expressionist Geneva - More Prints
Materials
Stencil
Jean Cocteau - Strength - Original Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Original Lithograph by Jean Cocteau
Title: Taureaux
Signed in the plate
Dimensions: 40 x 30 cm
Edition: 200
Luxury print edition from the portfolio of Trinckvel
1965
From the last po...
Category
1960s Modern Geneva - More Prints
Materials
Lithograph
Jean-Michel Atlan - Kafka - Original Lithograph
Located in Collonge Bellerive, Geneve, CH
Original lithograph by Jean-Michel Atlan
For Description of a Struggle by Franz Kafka
Paris, Maeght Publisher, 1946.
Dimensions: 30.5 x 24.5
Edition: 300 on vellum
Mourlot
JEAN-MI...
Category
1940s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first series of etching Lanskoy made.
Unsigned and unumbered ...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first series of etching Lanskoy m...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first series of etching Lanskoy made.
Unsigned and unumbered ...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
André Lanskoy - Composition - Original Etching
By André Lanskoy
Located in Collonge Bellerive, Geneve, CH
André Lanskoy - Composition - Original Etching
From Dédale
Edition: 190
Dimensions: 32 x 18 cm
This etching is from the first series of etching Lanskoy made.
Unsigned and unumbered ...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Etching
Jean-Michel Atlan - Kafka - Original Lithograph
Located in Collonge Bellerive, Geneve, CH
Original lithograph by Jean-Michel Atlan
For Description of a Struggle by Franz Kafka
Paris, Maeght Publisher, 1946.
Dimensions: 30.5 x 24.5
Edition: 300 on vellum
Mourlot
JEAN-MI...
Category
1940s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Original Lithograph
1962
From La tentation de l’Occident
Dimensions: 39 x 28.5 cm
Publisher: Les Bibliophiles Comtois
Edition of 170
Reference: Jørgen Ågerup 137 - 146...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
(after) Robert Delaunay - La fenêtre no. 2 - Pochoir
Located in Collonge Bellerive, Geneve, CH
(after) Robert Delaunay - La fenêtre no. 2 - Pochoir
From the literary review "XXe Siècle"
1957
Dimensions: 32 x 24 cm
Publisher: G. di San Lazzaro.
Category
1950s Abstract Geometric Geneva - More Prints
Materials
Stencil
Living Painting - Colour Pochoir
By (after) Sonia Delaunay
Located in Collonge Bellerive, Geneve, CH
Full-page, colour pochoir after costume designs by Sonia Delaunay.
Edition 331/500 copies on Velin Aussedat
Dimensions: 28.5 x 19.5 cm.
From 27 Living Paintings. [Milano, Edizioni d...
Category
1960s Abstract Geometric Geneva - More Prints
Alberto Magnelli - Composition - Original Lithograph
By Alberto Magnelli
Located in Collonge Bellerive, Geneve, CH
Alberto Magnelli
Original Lithograph
Executed in 1967 for XXe Siecle (issue No. 29 "Vers un nouvel humanism")
published in Paris by San Lazzaro
There is a fold in the center, as issu...
Category
1960s Abstract Geometric Geneva - More Prints
Materials
Lithograph
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Original Lithograph
1962
From La tentation de l’Occident
Dimensions: 39 x 28.5 cm
Publisher: Les Bibliophiles Comtois
Edition of 170
Reference: Jørgen Ågerup 137 - 146...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Original Lithograph
1962
From La tentation de l’Occident
Dimensions: 39 x 28.5 cm
Publisher: Les Bibliophiles Comtois
Edition of 170
Reference: Jørgen Ågerup 137 - 146...
Category
1960s Abstract Expressionist Geneva - More Prints
Materials
Lithograph
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