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Item Ships From: Switzerland
Still Life - Lithograph
By (after) Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst (1891-1976)
Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972
Colour lithographs on Arches paper
1972
Edition : 199
Dimensions: 40 x 30 cm
Refe...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
Leonor Fini - Red Cats - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Switzerland - Animal Prints
Materials
Etching
Marino Marini - Rider - Original Lithograph
By Marino Marini
Located in Collonge Bellerive, Geneve, CH
Marino Marini - Rider - Original Lithograph
1955
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1950s Surrealist Switzerland - Animal Prints
Materials
Lithograph
Raoul Dufy (after) - Autoportrait - Lithograph
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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: ...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Marino Marini - Original Lithograph
By Marino Marini
Located in Collonge Bellerive, Geneve, CH
Marino Marini - Knight - Original Lithograph
1970
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1970s Surrealist Switzerland - Animal Prints
Materials
Lithograph
Marino Marini - Knight - Original Lithograph
By Marino Marini
Located in Collonge Bellerive, Geneve, CH
Marino Marini - Knight - Original Lithograph
1967
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1960s Surrealist Switzerland - Animal Prints
Materials
Lithograph
Jean Cocteau - Europe's Agriculture - Original Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
Original Lithograph by Jean Cocteau
Title: Europe's Agriculture
Signed in the stone/printed signature
Dimensions: 33 x 46 cm
Luxury impression from the portfolio published by Sciaky....
Category
1960s Cubist Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst (1891-1976)
Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972
Colour lithographs on Arches paper
1972
Edition : 199
Dimensions: 40 x 30 cm
Refe...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
Gustave Singier - Abstract Fish - Original Lithograph
By Gustave Singier
Located in Collonge Bellerive, Geneve, CH
Gustave Singier - Abstract Fish - Original Lithograph
Conditions: excellent
32 x 24 cm
1955
From XXe siècle, San Lazzaro
Unsigned and unumbered as issued
Category
1950s Contemporary Switzerland - Animal Prints
Materials
Lithograph
Jules Pascin - Little Red Riding Hood - Original Lithograph
By Jules Pascin
Located in Collonge Bellerive, Geneve, CH
Jules Pascin - Little Red Riding Hood - Original Lithograph
Conditions: excellent
32 x 24 cm
1938
From the art review XXe siècle, San Lazzaro
Un...
Category
1930s Contemporary Switzerland - Animal Prints
Materials
Lithograph
Georges Braque - Birds - Original Lithograph
By Georges Braque
Located in Collonge Bellerive, Geneve, CH
Georges Braque - Birds - Original Lithograph
Published in the deluxe art review, XXe Siecle
1958
Dimensions: 32 x 24 cm
Publisher: G. di San Lazzaro.
Unsigned and unumbered as issued
Category
1950s Modern Switzerland - Animal Prints
Materials
Lithograph
The Human Comedy - Lithograph
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
After Pablo Picasso
The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve"
Printed signature and date
Dimensions...
Category
1950s Modern Switzerland - Animal Prints
Materials
Lithograph
Composition - Lithograph
By (after) Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Wassily Kandinsky (after) - Small World - Lithograph
By Wassily Kandinsky
Located in Collonge Bellerive, Geneve, CH
Wassily Kandinsky (after) - Small World - Lithograph
Conditions: excellent
32 x 24 cm
1952
From the art review XXe siècle, San Lazzaro
Unsigned and unumber...
Category
1950s Abstract Geometric Switzerland - Animal Prints
Materials
Lithograph
Enrico Baj - Lithograph
By Enrico Baj
Located in Collonge Bellerive, Geneve, CH
Enrico Baj - Original Lithograph
Colorful Abstraction
1962
From the art revue XXe Siecle
Dimensions: 32 x 24
Edition: G. di San Lazzaro.
Unsigned and unumbered as issued
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Georges Braque - Original Lithograph
By Georges Braque
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Leonor Fini - Cats - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Switzerland - Animal Prints
Materials
Etching
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst (1891-1976)
Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972
Colour lithographs on Arches paper
1972
Edition : 199
Dimensions: 40 x 30 cm
Refe...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - Birds - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst - Birds - Original Lithograph
Birds, 1964
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1960s Surrealist Switzerland - Animal Prints
Materials
Lithograph
Leonor Fini - Cats Trio - Original Hand-Signed Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
Leonor Fini - Cats - Original Engraving
Mme.Helvetius' Cats
Original etching created in 1985
Hand-Signed
Conditions: excellent
Edition: 71/100
Support: Arches paper.
Dimensions: Pape...
Category
1980s Modern Switzerland - Animal Prints
Materials
Etching
Raoul Dufy (after) - Landscape - Lithograph
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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: ...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Le Gôut du Bonheur: one plate
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in German, French and English), reprod...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - Birds - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Surrealist Switzerland - Animal Prints
Materials
Lithograph
Raoul Dufy (after) - Autoportrait - Lithograph
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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: ...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst (1891-1976)
Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972
Colour lithographs on Arches paper
1972
Edition : 199
Dimensions: 40 x 30 cm
Refe...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
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 &...
Category
1970s Modern Switzerland - Animal Prints
Le Goût de Bonheur: one plate (Joy Portrait)
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in German, French and English), reprod...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Paul Jouve - Chimpanzee - Original Engraving
By Paul Jouve
Located in Collonge Bellerive, Geneve, CH
Paul Jouve - Chimpanzee - Original Engraving
Editions Rombaldi, Paris, 1950.
Copy on velin creme de Rives
Artwork by Paul Jouve.
Original copper engraving ...
Category
1950s Modern Switzerland - Animal Prints
Materials
Engraving
Le Goût de Bonheur: one plate
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
It was produced under the direct supervision of Pablo Picasso
Portfolio: Le Goût de Bonheur...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
Leonor Fini - Purple Surrealist Cat - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Switzerland - Animal Prints
Materials
Etching
Georges Braque - Original Lithograph
By Georges Braque
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
After Marc Chagall - Lithograph
By (after) Marc Chagall
Located in Collonge Bellerive, Geneve, CH
After Marc Chagall - Lithograph
From the deluxe art review, Derrière le Mirroir, printed by Charles Sorlier
1964
Printed signature
Dimensions: 38 x...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Maurice Estève - Composition - Original Lithograph
By Maurice Estève
Located in Collonge Bellerive, Geneve, CH
Maurice Estève - Composition - Original Lithograph
Colorful Abstraction
1969
From the art review XXe Siecle
Dimensions: 32 x 24 inches
Edition: G. di Sa...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Marcel Gromaire (after) - Homage to Dufy - Lithograph
By Marcel Gromaire
Located in Collonge Bellerive, Geneve, CH
(after) Marcel Gromaire
Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965.
Printed signatur...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Alfred Manessier - Original Lithograph
By Alfred Manessier
Located in Collonge Bellerive, Geneve, CH
Alfred Manessier - Original Lithograph
Colorful Abstraction
1962
From XXe Siecle
Dimensions: 32 x 24
Edition: G. di San Lazzaro.
Unsigned and unumbered as issued
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Leonor Fini - Cat - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Switzerland - Animal Prints
Materials
Etching
Le Goût de Bonheur: one plate (portrait)
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in G...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
César - Centaur - Picasso's Homage - Original Signed Etching
By César Baldaccini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Realist Switzerland - Animal Prints
Materials
Etching
Le Gôut du Bonheur: one plate
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in German, French and English)
Sheet S...
Category
1970s Modern Switzerland - Animal Prints
Materials
Lithograph
André Marchand (after) - Homage to Dufy - Lithograph
By André Marchand
Located in Collonge Bellerive, Geneve, CH
(after) André Marchand
Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique P...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
After Raoul Dufy - Birds - Lithograph
By (after) Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Alfred Manessier - Lithograph
By Alfred Manessier
Located in Collonge Bellerive, Geneve, CH
Alfred Manessier - Lithograph
1962
From the art periodical XXe Siecle (no. 20)
Dimensions: 32 x 24
Edition: G. di San Lazzaro.
Unsigned and unnumbered as issued
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Maurice Estève - Composition - Original Lithograph
By Maurice Estève
Located in Collonge Bellerive, Geneve, CH
Maurice Estève - Composition - Original Lithograph
Colorful Abstraction
1969
From the art review XXe Siecle
Dimensions: 32 x 24 inches
Edition: G. di Sa...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Jean Cocteau - Artaban - Original Lithograph
By Jean Cocteau
Located in Collonge Bellerive, Geneve, CH
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" ...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
(after) Max Ernst - Blue Bird - Stencil
By (after) Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst (after) - Blue Bird - Stencil
Published in the deluxe art review, XXe Siecle, 1958
Dimensions: 32 x 25 cm
Publisher: G. di San Lazzaro.
Max 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...
Category
1950s Surrealist Switzerland - Animal Prints
Materials
Stencil
Max Ernst - The Soldier - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
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 &...
Category
1970s Modern Switzerland - Animal Prints
Homage to Renoir - Lithograph
By (after) Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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: ...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Maurice Estève - Composition - Original Lithograph
By Maurice Estève
Located in Collonge Bellerive, Geneve, CH
Maurice Estève - Composition - Original Lithograph
Colorful Abstraction
1965
From the art review XXe Siecle
Dimensions: 32 x 24 inches
Edition: G. di Sa...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Giuseppe Capogrossi - Original Lithograph
By Guiseppe Capogrossi
Located in Collonge Bellerive, Geneve, CH
Giuseppe Capogrossi - Original Lithograph
Colorful Abstraction
1969
From the art revue XXe Siecle
Dimensions: 19 x 12.25 inches
Edition: G. di San ...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Charles Lapicque (after) - Homage to Dufy - Lithograph
By Charles Lapicque
Located in Collonge Bellerive, Geneve, CH
Charles Lapicque
Original Handsigned Lithograph
Dimensions: 56 x 38 cm
Edition: Epreuve d'Artiste
Hand Signed
Charles Lapicque was one of the great painters of the “Ecole de Paris...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Lithograph after Georges Braque
Located in Collonge Bellerive, Geneve, CH
Lithograph after Georges Braque
From the deluxe art review, Derrière le Mirroir
1964
Printed signature
Dimensions: 38 x 28 cm
DLM No. 148, 1964
Edition: Foundation Maeght at Saint P...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Concert - Lithograph
By (after) Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
(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...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
Le Goût de Bonheur: one plate (Woman)
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in G...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Le Goût de Bonheur: one plate
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in G...
Category
1960s Modern Switzerland - Animal 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
Edition: 300
The Queen of Spades. Tr...
Category
1940s Modern Switzerland - Animal Prints
Materials
Lithograph
Le Goût de Bonheur: one plate (Croquis)
By (after) Pablo Picasso
Located in Collonge Bellerive, Geneve, CH
Artist: Pablo Picasso (after)
Medium: lithograph, Arches paper
Portfolio: Le Goût de Bonheur
Year: 1970
Edition: Total of 1998 copies (666 each in G...
Category
1960s Modern Switzerland - Animal Prints
Materials
Lithograph
Charles Lapicque (after) - Homage to Dufy - Lithograph
By Charles Lapicque
Located in Collonge Bellerive, Geneve, CH
(after) Charles Lapicque
Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965.
Printed signatu...
Category
1940s Fauvist Switzerland - Animal Prints
Materials
Lithograph
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