Switzerland - Figurative Prints

Salvador Dali - At The Beach - Original Handsigned Lithograph Dimensions: 51 x 71 cm 1970 Signed in pencil and numbered Edition : /CXX References : Field 70-8

Work on paper

Fisherman- Peter Doig, Contemporary, 21st Century, Pigment Print, Magic Realism Edition of 500 Signed and numbered, accompanied by Certificate of Authenticity In excellent condition ...

Georges Rohner Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions Georges Rohner was one of the great painters of the “Ecole de Paris” and of the second mid twenty century. Georges Rohner, French (1913 - 2000) Georges Rohner Georges Rohner was a French painter, born July 20, 1913 in Paris and died on 3 November 2000 in Lannion. Georges Rohner was born in 1913 in Paris. His uncle George Stugocki, art teacher, gives him an early taste for art and thus develops his passion. In 1929 he left school to run in the "galleries" of the School of Fine Arts in Paris where he will be received. A year later, it will be admitted as a student in the workshop Lucien Simon alongside Robert Humblot...

Original Lithograph by Jean Cocteau Title: Actress Signed in the plate Dimensions: 65 x 44 cm Jean Cocteau Writer, artist and film director Jean Cocteau was one of the most influen...

Original Vintage Airline Poster by the Danish illustrator Otto Nielsen (1916 – 2000). He created several designs commissioned by the S...

Salvador Dali - Corrida - Vintage Poster with Etching Etching made behind a menu in Restautant Duran as a tribute dinner to Salvador Dali and his wife Ga...

Salvador Dali - Original Handsigned Etching From La Quête du Graal Dimensions: 45 x 33 cm Handsigned Edition: 38/100 From the rare additional suite of 100 aside from the edition of ...

Erwin Wurm Melt, 2023 Relief print on canvas 100 × 80 × 4.5 cm (39.4 × 31.5 × 1.8 in) Signed and numbered Edition of 50 PLEASE NOTE: Images of edition number are example references ...

Jean Bazaine - Original Lithograph 1976 Dimensions: 32 x 25 cm Revue XXe Siècle Edition: Cahiers d'art published under the direction of G. di San Lazzaro. ean Bazaine is born in P...

Salvador Dali - The War - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

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...

Original Vintage Airline Poster by Harold Foster. He created several designs commissioned by the British Overseas Airways Corporation ...

Tracey Emin On My Knees - Emin, Contemporary, YBAs, Lithograph, Portrait, Figurative art 2021 4 Colour Lithograph on Somerset Velvet Warm White 400gsm. Produced by Counter Studio Ed...

Dufza - Paris - Conciergerie - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm

Pablo Picasso (after) Helene Chez Archimede Medium: engraved on wood by Georges Aubert Dimensions: 44 x 33 cm Portfolio: Helen Chez Archimede Year: 1955 Edition: 240 (Here it is on...

Dufza - Paris - Saint Michel - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm Unumbered as issued

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Hurt Heart (from A Journey To Death), 2021 Colour lithographs on Somerset Velvet Warm White 400gsm Signed, numbered, and dated by the artist In mint condition With certificate of aut...

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

The Best Conversation I ever had – Laughter, (from A Journey To Death), 2021 Colour lithographs on Somerset Velvet Warm White 400gsm Signed, titled, numbered, and dated by the artist...

Marc Chagall The Tables of the Law Lithograph from Vitraux pour Jerusalem 1962 Printed by Mourlot Dimensions: 32.5 x 24.5 cm Publisher: André Sauret, Monte-Carlo Reference: Mourlo...

(after) Jules Pascin Title: Femininity Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) Jules Pascin, born Julius Mordechai Pincas, was a Bulgarian Jewish painter sometimes referred to as "the Prince of Montparnasse." He was born on March 31, 1885 in Vidin, Bulgaria to a Spanish-Sephardic Jewish father and a Serbian-Italian mother, the eighth of eleven children. The Pincas family moved to Bucharest, Romania in 1892 and Pascin was raised there until he left for boarding school in Vienna in 1896. While briefly working for his father’s grain merchant firm in Bucharest at fifteen, Pascin spent much of his time completing his earliest drawings in the local bordello, where he was residing under the Madame’s protection. In 1902, at the age of seventeen, Pascin moved to Vienna to study painting. The next year, he studied at the Heymann Art School in Munich. There, he supported himself by selling satirical drawings to Simplicissimus and other German magazines. Pascin would contribute drawings to a Munich daily through 1929. Pascin’s contributions were widely recognized for their wit and insight, and upon his arrival in Paris in 1905 he was welcomed at the Gare Montparnasse by an international group of artists and writers who gathered at the Café du Dôme, which Pascin soon began to frequent regularly. The group included Grossman, Grosz, William Howard, Levy, and Emil Orlik. Pascin was also a close friend of Amadeo Modigliani. Upon his arrival in Paris, Julius Mordechai Pincas changed his name to Jules Pascin and soon became the symbol of the Montparnasse artist community. Always in his bowler hat, he was a witty presence at Le Dôme café, Le Jockey club, and the others haunts of the area’s bohemian society, and was known for hosting legendary all-night parties. In his story, A Moveable Feast, Ernest Hemingway wrote a chapter titled With Pascin At the Dôme, recounting a night in 1923 when he had stopped off at Le Dôme and met Pascin escorted by two models. Hemingway's depiction of the events of that night is considered one of the defining images of Montparnasse at the time. In 1907, Pascin had his first solo exhibition at Paul Cassirer Gallery in Berlin. Three years later, Cassirir commissioned Pascin to illustrate Heinrich Heine's Aus den Memoiren des Herrn von Schnabelewopski. In 1911, Pascin exhibited his work at Berlin Secession and a year later at the Sonderbund-Aussstellung in Cologne. The artist’s first exhibition in the United States was at the Armory Show in New York, where he exhibited twelve of his works. Upon the outbreak of World War I, Pascin left Paris for London in order to avoid conscription in the Bulgarian Army. In October 1914, he immigrated to New York, where he stayed through 1920 and would later return again in 1927. Pascin was immediately welcomed into an artists circle based around the Penguin Club and became acquainted with John Quinn, an important art collector. A short time after his arrival in New York, Pascin was given a one-man show by the Berlin Photographic Company, a Madison Avenue gallery. While in New York, Pascin became associated with several progressive painters, including Walt Kuhn, Yasuo Kuniyoshi, and Max Weber. Many of these painters were influenced by Pascin’s unique style, in which he combined elements from Expressionism and Cubism with his own personal view of his environment. Pascin used his time in the United States to travel extensively, especially in the southern states and the Caribbean islands, recording his travels in sketches that were widely acclaimed. Pascin married Hermine David in 1918. In 1920, Pascin was awarded American citizenship with support from Alfred Stieglitz and Maurice Sterne. He returned to Paris in October of that same year and met his future mistress, Lucy Krohg, the wife of the Norwegian painter Per Krohg...

Jean Jansem (1920-2013) Les acadiens, 1993 Lithographie sur papier Arches, justifiée E/A 16/30 Signée en bas à droite 65,5 x 50 cm / 76 x 56 cm Bibliographie: CR Jansem, 2000, n°9...

Salvador Dali - Mission Dolores - San Francisco - Original Hand-Signed Etching Title: Mission Dolores - San Francisco Drypoint Handsigned Dimensions: 65 x 50 cm Edition EA Catalogue ...

Eduardo Arroyo - Jean Moulin - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel

Title: Provence Village lithograph in colors after a painting by the artist Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre...

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

Salvador Dali - The Sacred Love of Gala - Original Signed Engraving Handsigned in pencil and Numbered Edition: F195/195 - Printer: Atelier Riga...

(after) Dunoyer de Segonzac Title: Province Signed in the plate Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre, "Les Peintres mes amis" (Paris: Les Heures Claires, 1965) André DUNOYER DE SEGONZAC (1884 - 1974) André Dunoyer de Segonzac naît le 7...

Original Lithograph by Leonard Foujita Title: Soldiers Signed in the plate Dimensions: 23 x 28 cm Edition of 97 From the " Propos d'un intoxiqué " Portfolio, published in 1928 by Jav...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Pablo Picasso (after) Helene Chez Archimede Medium: engraved on wood by Georges Aubert Dimensions: 44 x 33 cm Portfolio: Helen Chez Archimede Year: 1955 Edition: 240 (Here it is on...

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...

Cyril's Bay - Peter Doig, Contemporary, 21st Century, Magic Realism, Limited Edition Digital pigment print with silkscreen varnish on Somerset Velvet 255gsm with hand torn edges Edit...

Dry Tulips - 21st Century Photographic Floral Print, PolaroidOriginal, Shadow Gapped Frame - Photographic Print on Aluminium Dibond - Edition 10 + 1, with Certificate Dry Tulips is ...

Original Vintage Poster, issued 1987 by the ETH in Zurich on the occasion of its exhibition on Le Corbusier's famous – and revolutionary – Villa Savoye, c...

Limoges porcelain in "Bleu de Sèvres" and gold. Artist: Salvador Dali Exclusive limited edition to 2000 copies "Raynaud & Co. Limoges", France, 1968. "Silhouette de Faust" drawn by...

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

Salvador Dali - George Washington - Original Handsigned Etching Dimensions: 38 x 28 cm 1967 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Field 67-3

Salvador Dali - Woman on Horse - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12"....

André Dignimont - Belle Epoque Portrait - Original Etching Paris, Le Gerbier, 1946 Edition of 340 André Dignimont was born in Paris. He studied at the...

Isia Leviant - Hands Signed Lithograph Dimensions: 70.5 x 54.5 cm Edition of 30 Signed and numbered Isia Leviant (1914 - 2006) was a Franco Israeli Kinetic painting artist. He is a...

Paul Jouve (after) - Tiger - Engraving 19 x 14 cm Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Copper engraving heightened with pochoir.

André Derain - Ovid's Heroides Original Etching Edition of 134 Dimensions: 32 x 25 cm Ovide [Marcel Prevost], Héroïdes, Paris, Société des Cent-une, 1938...

Joana Vasconcelos Trafaria-Praia 2013 Viúva Lamego Hand-painted Tin-glazed Ceramic Tiles 42 × 56 cm (16.5 × 22 in), Unframed Limited Edition of 100 Signed...

Salvador Dali - Six Eggs - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum References : Field 67-4 (p. 32-33) / Michler & Lopsinger 174 to 187.

Pierre Bonnard - Sunset on the Mediterranean Original Lithograph Dimensions: 36 x 54 cm Verve . Revue Artistique et Litteraire. Vol. II, No 8. Printed by Mourlot at the start of Worl...

Jean Cocteau - Blue Eagle - Original Lithograph 1956 Stampsigned lower left Signed and dated in the plate Numbered in pencil Edition : /XXV Dimensions: 50 x...

after Henri MATISSE (1869-1954) Lithograph after a drawing of 1941 Printed signature and date Book plate from Aragon. Henri Matisse: Dessins, Thèmes et Variations : précédés de "...

Original Lithograph by Jean-Gabriel Domergue Title: Elegance Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne"

Leonor Fini - Portraits - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinckv...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Marc Chagall - Original Lithograph La Vache Bleue (The Blue Cow) From the unsigned, unnumbered lithograph printed in the literary review XXe Siecle 1967 See Mourlot 488 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. 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...

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

Jacques Villon - Sleeping Nude - Original Etching Circa 1950 Signed in pencil Edition of 45. Dimensions : 32.7 x 25 cm

Salvador Dali - Head of Veal - Original Etching Embossed signature From the edition of 731 Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 / Michler & Lopsinger 305

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Reference: Chagall Lithographe 1957-1962. VOLUME II. Unsigned edition of over 5,000 Condition : Excellent 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...

Salvador Dali - The Trenches - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Leonor Fini - Prisonners - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsig...