Simon Bussy

The Gazelle

1927

after Georges Braque Oiseaux Color Pochoir on Paper Published in the deluxe art review, XXe Siecle (issue number 11 "Les nouveaux rapports de l'art et de la nature") 1958 Dimensions:...

Three Hens by Georges Manzana Pissarro (1871-1961) Pochoir 31.8 x 48.3 cm (12 ½ x 19 inches) Signed with Estate stamp and épreuve d'état Provenance Private Collection, London Artis...

Magpie by Georges Manzana Pissarro (1871-1961) Pochoir 26.5 x 45 cm (10 ³/₈ x 17 ³/₄ inches) Signed lower right manzana - Pissarro and numbered 2/100 Artist biograpraphy: Like all s...

Les poules by Georges Manzana Pissarro (1871-19610 Pochoir 30 x 46 cm (11 ³/₄ x 18 ¹/₈ inches) Signed with Estate stamp Manzana Pissarro and numbered 7/100 lower left Artist biograp...

Giorgio de CHIRICO Horses in a Mythological Landscape, c. 1955 Lithograph and stencil (Jacomet workshop) Printed signature in the plate On light vellum 48 x 38 cm (c. 19 x 15 in) V...

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...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Original Amora Mustard Poster by Leon Dupin – Archival linen-backed French lithograph. Very fine to excellent condition. Undated, but it is presumed to be from the 1930s. No restoration or damage. Excellent colors on French antique (light crème) paper. A striking original vintage poster advertising Amora Mustard, designed by the renowned French artist Leon Dupin. This authentic piece features Dupin’s signature style and vibrant imagery, capturing the classic French culinary spirit that has made Amora a household name since the early 20th century. Art deco era. Consumed for thousands of years, mustard is a condiment known for its medicinal qualities. Around 1750, Jean-Baptiste Naigeon, the son of a master vinegar maker, revolutionized Dijon mustard by replacing vinegar with unripe grape juice. This new recipe made the mustard milder, more fragrant, and helped it last longer. In 1919, the Bizouard family, who had taken over the business, registered the 'Amora" brand. The name is credited to Armand Bizouard, who, upon tasting the mustard, is said to have exclaimed, "This is a wonderful mustard, it will be Amora!" Amora was the name of the rising sun god Ra Ora (Amon Ra). Enchanted by this divine connection, the new brand name was adopted. A striking vintage poster advertising Amora Mustard, designed by the renowned French artist Leon Dupin. This authentic piece showcases Dupin’s signature style and vibrant imagery, capturing the classic French culinary spirit that has made Amora a household name since the early 20th century. The poster is professionally archival, linen-backed, and ready to be framed to your exact specifications, ensuring preservation and stability. Condition is excellent, with vivid colors and crisp lines throughout—a testament to its careful conservation. Rarely available and with only a few copies found over the years, this piece is essential for collectors of vintage French ephemera...

Heron Blongios - Little Bittern French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of bird...