5,410 results for "cubism"

This exquisite lithograph after Georges Braque (1882–1963), titled L’Oiseau et son nid (The Bird and Its Nest), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L...

Remembrance of Things Past NOT framed Neo Cubism About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk from New York City to paint seascapes, catch fish, sing of Nature's beauty, put down roots, and, later, develop a style of painting all his own. The Boston native moved to New York after attending the School of Practical Art on the G.I. Bill, where he began his career in the art department of Lever Brothers. But he had bigger dreams, and soon established the Bonart Studio, a commercial art business. RCA Records, the Ideal and Transogram toy companies, and the Schrafft’s candy and chocolate company were among the studio’s clients. The business a success, he began to take vacations. He liked Montauk so much that he built a house in Hither Hills...

This exquisite four color process archival pigment print after George Condo (born 1957), titled Compression III, from the folio George Condo, Drawing Paintings, originates from the 2...

This exquisite lithograph after Marc Chagall (1887–1985), titled Pelleas et Melisande (Pelleas and Melisande), from the album Le plafond de l’Opera de Paris par Marc Chagall (The Cei...

This exquisite lithograph after Juan Gris (1887–1927), titled Le Moulin a Cafe I (The Coffee Grinder I), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), origina...

This exquisite lithograph by Marcel Gromaire (1892–1971), titled Femme nu (Nude Woman), from Verve, Revue Artistique et Litteraire, Vol. VII, No. 27–28, originates from the 1953 issu...

Pierre Coquet – Abstract Composition Reference number A217 Framed with a natural oak floated frame 67 x 54 cm frame included (62 x 49 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. Stamp of the signature in the bottom right Pierre was very sensitive to abstract paintings. He did a lot of abstract works melting colors and shapes in different atmosphere and style. Nevertheless he could come back to figuration and again to abstraction with no precise period of time. Abstract paintings by Pierre Coquet represent a large part of his production. The constant search for balance between shapes and colors as well as his passion for Nicolas de Staël, André Lanskoy, Alfred Mannessier… takes him on different paths from what we know of him. His way of painting is strong and thoughtful, the lines stretch out and the harmonious touches, applied with sobriety, reveal a great sense of color. Provenance : Workshop of the artist (stamped and numbered on the back) Pierre Coquet (1926-2021) is a French painter who was born in Limas near Lyon, France. He entered the Ecole des Beaux Arts in Lyon in 1942 and followed the teaching of Antoine Chartres, Henri Vielly and René Chancrin. He won a prize in 1945 and joined a movement that wanted to be outside of any school whose name ends with “ism”, (like impressionism, cubism…) between figuration and the renaissance of Abstract Art, bringing together young generations under thirty and eager not to submit to any technique. The “Sanzism” (literally without « ism ») will bring together, among others, painters: James Bansac, Roger Bravard, André Chaix, Jean Mélinand, Paul Clair, André Cottavoz, Pierre Doye, Jean Fusaro, Jacques Truphémus, André Lauran...

"Picos" is an abstract painting created in 1971 by Modernist artist, Stanley Bate. The piece features an earthy, muted palette, giving it a serene feeling with deep grey, muted brown...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a dark palette, with dark charcoal black tones contrasted by yellow and red accents throughout, and large brush strokes. The painting itself is 16" x 54" and measures 17" x 56" x 2" framed. The paper is mounted on board, framed in a black frame under glass. It is not signed by the artist, but has been authenticated by his estate, and is stamped with the estate seal on the back of the painting, and on the back of the frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

The Viola-Cover for derrière Le Miroir is an original lithograph realized by Marc Chagall in 1972 for the Art Magazine Derrière Le Miroir no. 198. Very beautiful colors and very goo...

Studio for Wall Painting is an artwork on white cardboard realized after Italian Artist Mario Sironi (1885-1961) in 1934. Phototype print. Signed on the low corner. Good condition...

This exquisite lithograph and pochoir after Joan Miro (1893–1983), titled Personnage et oiseau (Figure and Bird), from the album Miro, Cartones 1959–1965 (Miro, Cardboards 1959–1965)...

This exquisite lithograph by Alexandre Garbell (1903–1970), titled Sans titre (Untitled), originates from the 1962 album Albert Camus, oeuvres completes, Recits et romans, L'Etranger...

Pierre Coquet - Still life with peppers Reference number F48 Framed with a natural oak floated frame 43 x 61 cm frame included (38 x 56 cm without frame) This wor...

This exquisite lithograph by Marc Chagall (1887–1985), titled Esther (Esther), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, originates from the July 29, 1960 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s poetic interpretation of the biblical figure Esther, evoking themes of courage, faith, and divine providence through his luminous color and dreamlike symbolism. The flowing forms and radiant imagery convey a sense of spiritual intensity and narrative depth, capturing the heroine’s quiet strength and the unfolding drama of her story within Chagall’s distinctive visual language. Infused with movement and lyricism, the work transforms sacred narrative into a meditative vision of devotion and destiny. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Esther (Esther), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, July 29, 1960 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 230-276. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 42. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. X, No. 37-38, published by Editions de la revue Verve, Paris, 1960 Notes: Excerpted from the folio (translated from French), This double issue of Verve includes the drawings that Marc Chagall executed in 1958 and 1959 on biblical themes that he had not generally dealt with in his illustration for the Bible, engraved with etching and which were included in issue 33/34 of Verve. This album has 96 renderings in black and 24 color litbographies as well as the cover that were specially made for this album. It was completed printing on July 29, 1960 by Draeger Freres for black gravures and by Mourlot Freres for color lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. X, No. 37-38 on July 29, 1960, represents a significant continuation and expansion of Chagall’s profound engagement with biblical imagery and spiritual narrative. Conceived and directed by the visionary publisher Teriade, the publication builds upon the earlier Verve issue devoted to Chagall’s Bible illustrations by presenting a new body of work executed in 1958 and 1959, exploring themes and episodes that had not been fully addressed in the initial series. Printed in Paris by Draeger Freres for black gravures and Mourlot Freres for color lithography, the edition demonstrates an exceptional level of technical refinement and artistic collaboration. The publication includes an extensive suite of ninety six black reproductions and twenty four color lithographs, as well as specially created cover imagery, reflecting Chagall’s continued innovation in translating sacred themes into graphic form. As part of the broader tradition of Verve, one of the most important artistic and literary publications of the twentieth century, this issue exemplifies the fusion of text, image, and craftsmanship at the highest level. Today, Verve Vol. X, No. 37-38 stands as a major achievement within Chagall’s graphic oeuvre, reaffirming his role as one of the foremost interpreters of biblical narrative in modern art. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, artists who sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Esther...

This exquisite lithograph by Akira Kito (1909–1995), titled Enfant (Child), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by th...

Iosas Sepultus in Mausoleo Patrum is a Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967...

This exquisite lithograph and pochoir after Georges Braque (1882–1963), titled Oiseau au couchant (Bird at Sunset), from the album Georges Braque, Le Solitaire (The Solitary), originates from the 1959 edition published by XXe siecle, Paris, in collaboration with Fernand Hazan, Paris; rendered by Daniel Jacomet, Paris; and printed by Daniel Jacomet et Cie, Paris, 1959. Oiseau au couchant (Bird at Sunset) reflects Braque’s meditative engagement with the motif of the bird—an enduring symbol of transcendence, freedom, and poetic solitude in his mature work. Through simplified form and muted harmony, the composition evokes the quiet passage of twilight, translating nature’s fleeting beauty into a timeless visual poem. Braque’s masterful integration of geometric abstraction with lyrical rhythm captures the balance between motion and stillness, light and silence. Executed as a lithograph and pochoir on velin d’Arches paper, this work measures 7.25 x 9.375 inches. Unsigned and unnumbered as issued. The edition exemplifies the technical excellence of Daniel Jacomet et Cie, Paris, produced in close collaboration with XXe siecle and Fernand Hazan, Paris. Artwork Details: Artist: After Georges Braque (1882–1963) Title: Oiseau au couchant (Bird at Sunset), from the album Georges Braque, Le Solitaire (The Solitary), 1959 Medium: Lithograph and pochoir on velin d’Arches paper Dimensions: 7.25 x 9.375 inches (18.42 x 23.81 cm) Inscription: Unsigned and unnumbered as issued Date: 1959 Publisher: XXe siecle, Paris, in collaboration with Fernand Hazan, Paris Printer: Daniel Jacomet et Cie, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album Georges Braque, Le Solitaire, published by XXe siecle, Paris, in collaboration with Fernand Hazan, Paris; rendered by Daniel Jacomet, Paris; and printed by Daniel Jacomet et Cie, Paris, 1959 Notes: Excerpted from the album (translated from French): XXX examples of this work were printed on Arches paper, containing an original engraving by Georges Braque, numbered from I to XXX. CM examples, constituting the original edition, including CCC for F. Hazan, publisher in Paris, CCC for A. Zwemmer, publisher in London, and CCC for the New York Graphic Society, LX examples, marked H.C., are reserved for the Author and the Publisher. About the Publication: Georges Braque, Le Solitaire (The Solitary) was published in Paris in 1959 by XXe siecle in collaboration with Fernand Hazan and printed by the Atelier Daniel Jacomet et Cie. Conceived as both a visual and literary homage to one of the founding figures of Cubism, the volume represents one of the most refined art book productions of the postwar era. The publication was issued in conjunction with the journal XXe siecle, under the direction of G. di San Lazzaro, a central figure in promoting modern art through his collaborations with artists such as Picasso, Miro, Chagall, and Calder. Le Solitaire brought together Braque’s mature reflections on nature, still life, and metaphysical quietude, accompanied by critical essays and reproductions of his work. The pochoir and lithographic plates—executed by Daniel Jacomet, whose atelier was renowned for its exceptional color pochoirs—capture the texture and tonal depth of Braque’s original paintings with rare precision. About the Artist: Georges Braque (1882–1963) was a French painter, sculptor, and printmaker whose pioneering vision transformed the course of 20th-century art. A central figure in modernism and the co-founder of Cubism alongside Pablo Picasso, Braque redefined visual perception by breaking objects into geometric forms and reassembling them from multiple perspectives, creating a new visual language that bridged the gap between abstraction and reality. His early work was influenced by the vibrant colors and expressive energy of the Fauvist painters Henri Matisse and Andre Derain, before evolving toward the more analytical and structured compositions inspired by Paul Cezanne’s theories of form and perspective. Braque’s collaboration with Picasso between 1908 and 1914 marked one of the most fertile and revolutionary periods in art history, resulting in works that challenged traditional notions of space, depth, and illusion. Throughout his career, Braque maintained a deep interest in harmony, rhythm, and balance, infusing his still lifes, landscapes, and later reliefs with poetic subtlety and intellectual rigor. He moved among a brilliant circle of contemporaries including Pablo Picasso, Henri Matisse, Marc Chagall, Juan Gris, Fernand Leger, and Amedeo Modigliani—artists united in their pursuit of new modes of artistic expression. Braque’s influence extended well beyond his own era, shaping the creative approaches of later modernists such as Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, all of whom drew inspiration from his structural innovations and aesthetic integrity. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to embody the essence of modern artistic thought and visual poetry. The highest price ever paid for a Georges Braque artwork is approximately 15 million USD, achieved in 2013 at Christie’s New York for Paysage a la Ciotat (1907). Georges Braque Oiseau...

This exquisite heliogravure by Joan Miro (1893–1983), titled Femme Assise V/V (Seated Woman V/V), from the folio Joan Miro, Femmes (Women), originates from the 1965 edition published...

The Creation of Things is a Color lithograph on heavy rag paper realized in 1964. It is part of Biblia Sacra vulgatæ edition is published by Rizzoli-Mediolani between 1967 and 1969. ...

Françoise Juvin - Hilly landscape over the Rhône river in France Reference number FJ169 Framed with a natural oak floated frame. 23,5 x 34 cm frame included (18 x 26 cm without frame...

This exquisite lithograph and pochoir by Jean Lurcat (1892–1966), titled Le Capricorne (The Capricorn), from the folio Les Signes du Zodiaque (The Signs of the Zodiac), originates fr...

This exquisite lithograph after Alberto Giacometti (1901–1966), titled L’atre (The Hearth), from the folio Derriere le miroir, No. 65, originates from the 1954 edition published by M...

This exquisite lithograph by Joan Miro (1893–1983), titled Sans titre (Untitled), originates from the 1956 publication Joan Miro. Published by Maeght Editeur, Paris, and printed by M...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Sans titre (Untitled), from the album Pierre Bonnard, Correspondances, originates from the 1944 edition published by E...

Persian Ballet is a woodcut on ivory-colored, realized at the beginning of the XX century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947). On the lower margin, the printed inscriptions with the title and the author: "Persian Ballet/ Martini de la Valle...

Pierre Coquet - Still life with a yellow tablecloth Reference number F380 The painting is not framed but it could be with a natural oak floated or black ...

Very nice original poster of David Hockney, Images and thoughts for Vogue magazine at the Claude Bernard gallery. David Hockney was born in 1937 in Brad...

This exquisite lithograph after Fernand Leger (1881–1955), titled La Serveuse, Paris (The Waitress, Paris), originates from the 1970 folio Fernand Leger mes voyages avec un poeme d'a...

This textured, Modern Abstract Expressionist painting Stanley Bate features a neutral palette with both warm and cool undertones. Muted blues and reds seem to be incorporated into a ...

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...

Rally is an artwork realized after the Italian artist  Renato Guttuso  (Bagheria, 1911 – Rome, 1987) in 1961. Phototype print..  Good condition. Italian title on the back "Comizio...

This artwork "Deux Filles (Two Girls) c.1940 is an etching on Wove paper after French artist Marie Laurencin, 1883-1956. It is unsigned as issue. This is a posthumous impression from the canceled plate. The image size is 4.5 x 5.5 inches, plate mark size is 9 x 5.5 inches, sheet size is 12.35 x 9.85 inches. It is in excellent condition. About the artist: Marie Laurencin, intimate of Braque, Picasso, Matisse and Appollinaire, was born in 1883. She held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Sans titre (Untitled), from the album Pierre Bonnard, Correspondances, originates from the 1944 edition published by E...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Sans titre (Untitled), from the album Pierre Bonnard, Correspondances, originates from the 1944 edition published by E...

This exquisite lithograph after Georges Braque (1882–1963), titled Hommage a Dufy (Homage to Dufy), from the folio Lettre a mon peintre Raoul Dufy (Letter to My Painter Raoul Dufy), ...

This exquisite lithograph after Juan Gris (1887–1927), titled Le Livre (The Book), from the folio Au Soleil du Plafond (In the Sunlight of the Ceiling), originates from the 1955 edit...

John von Wicht (American, 1888-1970) Oil on Japanese Rice Paper. Hand signed and dated in pencil lower right. Sheet Size: 21 x 29.25 in. Johannes Von Wicht was born in Holstein, ...

This striking original exhibition poster from 1990 features “Verre et Journal” (Glass and Newspaper) by Juan Gris (1887-1927), a master of Synthetic Cubism. Celebrated for his intell...

Artist: After Pablo Picasso (1881-1973) Title: Modele et Grande Sculpture de Dos (after Bloch 186) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype ha...

Kawiarnia la rotonde is a modern artwork realized by Moïse Kisling. Black and white lithograph. Signed on plate. Polish painter (Krakow 1891 - Sanary-sur-Mer, Var, 1953), naturali...

'Harvest Evening', Paris, Academie de la Palette, Post-Impressionist, Benezit --------- Signed lower right, 'A. Naur' for Albert Naur (Danish, 1889-1973) ...

Aquatint on wove paper. Hand signed and numbered by Pablo Picasso. Plate 106, from the serie "347 gravures" (B. 1586; BA. 1602 II B b 1). Published by Galerie Louise Leiris, Paris. ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Odysseus und Eurycleia (Odysseus and Eurycleia), from Homer, Die Odyssee (The Odyssey), originates from the 1989 Germ...

'Still Life of Tulips' by Albert Naur, 1919. Paris, Academie de la Palette, Benezit, Cubist ---- Signed with monogram, lower left, 'AN' for Albert Naur (Danish, 1889-1973) and dated...

Moody figurative abstract expressionist painting of a Victorian couple with an angel by artist David Rosen (American, 1912-2004), c. 1970. Signed "Rosen" lower right. Unframed. Image size: 30.25"H x 26.38"W. Born in 1912, Rosen grew up in Toronto, Canada before pursuing arts in the United States. Upon arriving, Rosen settled in New York City and attended the Cooper Union Art school in 1930. While participating in the Federal Arts Project, he worked for the program's mural department until 1941. He also worked with an artist collective, Siqueiros Art Workshop. There, Rosen met fellow FAP artist Jackson Pollack, and together, with artist Phillip Guston, they experimented with new painting techniques and mediums. Art movements are often reactions to the popular styles that precede them, and Abstract Expressionism applied a new and exciting method to Modern Art. Gradually, artists began to break away from an overly-studied, academic approach to painting and liberated their technique. During these workshops, Rosen was introduced to Pollack's groundbreaking "drip painting" before it changed the art world. As America became involved in World War II, the Federal Arts Project wound down, officially ending in 1942. Around this time, Rosen enlisted as a Merchant Seaman with the U.S Merchant Marines. During this time, he traveled to North Africa and Italy before concluding his service and moving to California where, in 1945, he devoted his full attention to building an art career. Within a couple of years, he landed a major exhibition at the Los Angeles County Museum of Art in 1947, and his first one-man show, which opened to rave reviews, was held at Hollywood's Contemporary Art Gallery. The exhibition’s success led to mural commissions from Palm Springs' Hotel del Tahquitz, and he scored more solo shows at West Hollywood's Chabot Gallery. The early 1950s brought a surge of recognition for Rosen's career, and while his work was certainly still influenced by Abstract Expression, his painting style included elements of Surrealism, Figurative Art, and Cubism. Like his colleague Jackson Pollack, Rosen produced work inspired by drip painting; however, rather than splattering, his drips were the natural flow marks from painting freely without regard for "mistakes." Throughout Rosen's long career, he would acquire techniques from vastly different art styles which made for a varied, eclectic catalog of work. Rosen continued to build his California art career and settled at a Laguna Beach art colony in 1958. There, he entered his work in the Laguna Beach Festival of Arts and was the first painter to contribute Abstract Art to the event. Rosen would participate in the festival for the next fifteen years. A year after his move, in 1959, Rosen opened his first studio gallery and began a 12-year collaboration with the Laguna Playhouse. For the next two decades, Rosen participated in 17 art exhibitions and 20 solo shows, and received considerable critical praise. Rosen's themes were as varied as his evolving painting style, and one of his themes focused on classic characters like Shakespeare's Hamlet. Rosen's close-up portraits of historical and literary figures, illustrated by the piece To Be or Not to Be: Soliloquy From Hamlet, capture the essence of the characters while remaining loose with the painting and even adding a slight cartoon feel. His ongoing Hamlet series, as a complete collection, makes an impact with the diversity of technique. Unlike the loose style of some of his works, the painting Madaam... that he is mad is true is influenced by the structure of Cubism, the flat dimensions of Byzantine Art, and his utilization of mixed media. After Rosen's death in 2004, the Laguna Beach Festival of Arts sponsored an exhibition of his Hamlet paintings at the Wells Fargo Building gallery. Throughout Rosen's career, he amassed a great deal of critical, industry, and public praise for his work. His beloved town of Laguna Beach bestowed numerous awards that include the Laguna Beach Annual Art Gallery Award and Orange County's Annual Exhibit Award. Rosen's work flourished in California, and he received recognition from the San Diego County Fair, Los Angeles' Miracle Mile...

This exquisite lithograph after Marc Chagall (1887–1985), titled Der wiedergefundene Frieden (The Peace Restored), from Homer, Die Odyssee (The Odyssey), originates from the 1989 Ger...

"Rites of Spring" by Modernist painter Stanley Bate is a large-scale, textured oil painting on canvas. The deep grey and maroon colors serve as a backdrop to a burst of geometric sha...

(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: ...

Ida Colucci, a contemporary artist renowned for her mastery in the art of collage, stands at the forefront of a creative revolution that transcends traditional artistic boundaries. T...

Ida Colucci, a contemporary artist renowned for her mastery in the art of collage, stands at the forefront of a creative revolution that transcends traditional artistic boundaries. T...

Hammer- Pincer- Basket is an artwork realized by the Italian artist  Renato Guttuso  (Bagheria, 1911 – Rome, 1987) in 1960. Original Colored Offset on paper.  Good condition. Ital...

"Newstand" by Modernist painter Stanley Bate features a dark grey and brown perimeter with a white, blue and red composition that features geometric crosshatched lines with integrate...

Portrait is an original lithograph realized by Graham Sutherland in 1972 Numbered edition 58/65 Dimensions:65.5 x 50 In very good conditions. Original creation by the English pai...

Cathedral II is an original black and white etching by the German artist Fritz Baumgartner. In very good conditions, except for some small diffused foxing ner the margin that doesn't affect the image. The artwork represents a cathedral through strong and confident strokes in a well-balanced composition with perfect hatchings. Fritz Baumgartner (Aurolzmümnster 1929 / Austria - Munich 2006). Austrian painter and graphic artist, naturalized German, Fritz Baumgartner, is an incredible interpreter of neo cubism...

Objects in the Study is an artwork realized after the Italian artist  Renato Guttuso  (Bagheria, 1911 – Rome, 1987) in 1961. Phototype print..  Good condition. Italian title on th...

This exquisite etching by Marc Chagall (1887–1985), titled Sobakevitch (Sobakevitch), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948, and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, 1923–1927. The composition presents Sobakevitch as a figure of monumental gravity, rendered with dense line, architectural solidity, and satirical force, transforming Gogols character into a visual embodiment of weight, obstinacy, and material presence. Executed as an etching on velin d'Arches filigrane paper, this work measures 17.764 x 10.827 inches (45.12 x 27.5 cm). Signed in the plate and unnumbered as issued. Printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Sobakevitch (Sobakevitch), from Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), 1948 Medium: Etching on velin d'Arches filigrane paper Dimensions: 17.764 x 10.827 inches (45.12 x 27.5 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1948, published; 1923–1927, printed Publisher: Teriade Editeur, Paris Printer: Fort, Impressions artistiques, Paris, under the direction of Louis Fort Catalogue raisonne reference: Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustres. P. Cramer ed., 1995 Condition: Well preserved, consistent with age and medium Provenance: From Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948 Notes: Excerpted from the folio (translated from French), It was taken from this album, on velin d'Arches filigrane Les Ames mortes, including a suite on japon nacre and non commerce examples reserved for collaborators. All colophons are signed by the artist. About the Publication: Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall) stands among the most important illustrated literary works of the twentieth century. Conceived over several decades and rooted in Chagalls deep emotional connection to Gogols satirical vision of Russian society, the album unites text and image in a profoundly imaginative synthesis. Published by Teriade in 1948 and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, the album embodies the highest standards of Parisian printmaking and remains a cornerstone of twentieth century livre dartiste production. About the Artist: Marc Chagall (1887–1985) was a Belarus born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the twentieth century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagalls art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Over a prolific career spanning painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art. His works are held in major museums worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sothebys New York for Les Amoureux (1928). Marc Chagall etching...

Artist: After Pablo Picasso (1881-1973) Title: Femme Songeuse et Inquiète dans L'atelier de Sculpture (after Bloch 188) Year: 1992 Medium: Reproduced from the original edition using ...

This exquisite lithograph after Marc Chagall (1887–1985), titled Tribe of Reuben, from the album Marc Chagall, The Jerusalem Windows, originates from the 1962 edition published by An...

Unique modernist depiction of an abstracted bull by California artist Dick Crispo (American, b.1945), 1981. The earthtoned animal is outlined in bold strokes of black, and is rendered in an interesting fractured geometric style evocative of cubism's handling of perspective. Signed and dated lower left "D. Crispo '81", and on label on verso. Presented in a dark copper metal frame. Image size; 22.5"H x 28.75"L. An award winning artist, Crispo has studied at the Carmel Art Institute under John Cunningham and Sam Colburn...