Miniature Nude Prints

Nude is an original Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981) in the late 20th Century. The state of preservation of the...

GRAPHICTHERAPY is David Calderley: an Englishman in New York, Creative/Art Director, Graphic Designer and Illustrator. After graduating from the esteemed St. Martin’s School of Art in Covent Garden, London and beginning a freelance career, he moved to New York City in 1990. Over the last 30+ years he has designed over 1200 albums and single covers, as well as promotional and full campaigns for a myriad of artists including, Interpol, Madonna, The White Stripes, RZA, Moby, The Black Crowes, Elvis Costello, to name a few. After a 10 year spot as the Creative Director for Sir Richard Branson’s North American Record Label V2, he set up GRAPHICTHERAPY in 2007, a small boutique creative agency that offers a complete range of design services, both in print and media. A unique mix of art direction, design and creative illustration can be seen across a wide variety of brands, products and publications in music, fashion, events and campaigns. His largest illustrated piece is a 90ftx50ft mural on 57th and Park Avenue for the British menswear company, Turnbull & Asser, as part of their rebrand. David’s work has been recognized by numerous global companies and publications, and has won several industry awards. He continues to work from his studio in Harlem. This capsule of collage/mixed media prints: ‘Eating Vinegar with A Fork,’ reflecting a dry wit, as suggested in the title; juxtaposing formal Victorian etchings...

Original artwork realized by Mino Maccari in the 1960s. Mixed colored watercolor drawing on cardboard realized for the newspaper "Il Tirreno". Hand-signed by the artist on the lowe...

Nude is a monotype on paper realized by Anonymous artist of the XX century. The state of preservation of the artwork is very good. The artwork represents a nude female figure, posi...

Suffering is an original woodcut artwork on paper realized in 1937 by Russian artist Erikma Lawson Frimke (1878-1956), Hand-signed and dated on the lower in pencil. The state of pre...

Serena is an original woodcut realized by Arturo Martini. Title and signature printed on the lower margin. The State of preservation is good. The artwork is representing a woman beside a vase of flowers in a frame through intense bla...

Female Figure with Hat is an original modern artwork realized by the French artist Jean Hippolyte Marchand in the 1920s. Original Lithograph on ivory paper. Passepartout included (...

Pensive Nude is a black and white print realized by Anna Bass (Strasbourg 1876 - Paris 1961) in the First Half 20th Century. The artwork represents a nude female portrait. Hand-si...

Salvador Dali - Nails on Nude - 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.

Standing Nude by Wim van Broekhoven. Drawing from models and observing urban, industrial and natural landscapes are recurring motifs. Drawing from a model is about representing expr...

Standing Nude by Wim van Broekhoven. Drawing from models and observing urban, industrial and natural landscapes are recurring motifs. Drawing from a model is about representing expr...

Untitled Plate 8 from Paroles Peintes Suite is an etching and aquatint on Japon paper. Hand-signed and hand-numbered in pencil on the lower margin. Edition of 85 prints. Perfect con...

Untitled Plate 5 from the Paroles Peintes Suite is an etching with aquatint on Japon paper. Hand-signed in pencil on the lower right; numbered on the lower left in pencil. Edition of...

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right....

Lithograph on Japon paper, Edition of 50 Paper size: 43.7 x 28.1 cms (17.2 x 11.1 ins) Image size: 39.1 x 23.7 cms (15 3/8 x 9 1/4 ins)

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

Salvador Dali - Albert Schweitzer - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel Reference...

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

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

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...

Silkscreen on paper, ed. 2/7 Michael Alan is an American artist born in 1977 who lives & works in New York, USA. As a multidisciplinary artist. His work has been featured in many so...

Etching monogrammed in the plate. Illustration for a Robert Ganzo's poem "Lespugue" Editions Marcel Sautier, Paris, 1966. Conditions: Good Conditions Dimensions: 25,5 x 16,5 cm. Vellum paper Référence Czwiklitzer n°55. 1890 Zadkine was born on the 14th of July in Vitebsk, a city in Belarussia, on the Dvina. His father Ephime teaches classical languages at the local seminar. His mother Sophie Lester descended from Scots, who emigrated at the time of Peter the Great. 1905 His parents send him to Sunderland, in the North of England, where his mother’s family lives. He studies English and attends modelling courses at the local Art School. 1905-1909 He travels to London without his parents permission where he attends courses at the Regent Street Polytechnicum. In order to earn his living, he plans to work with a stonecutter. He visits the British Museum and studies classical sculpture there. Returns to Smolensk where he produces his first sculpture. Goes back to London. 1909-1910 Zadkine settles in Paris and studies in the ecole Nationale des Beaux-Arts. Finds a workshop in a building called La Ruche, in the XVe arrondissement. 1911 Zadkine presents statues and drawings at the annual Salon d’Automne and at the Salon des Indépendants. It is the ‘cubists’ who draw his attention in Paris. Is essentially close to Russian students who get together in a cafe of the ‘Quartier Latin’. Has himself called Joe Zadkine until 1914. 1912-1913 Finds a room in the neighbourhood of Montparnasse, in the rue de Vaugirard. Studies Roman sculpture. Zadkine is immortalized by his neighbour, photographer Marc Vaux, in his new workshop. Meets Brancusi, Guillaume Apollinaire, Jacques Lipchitz, Pablo Picasso, Antoine Bourdelle, Leopold Survage and Robert Delaunay. Henri Matisse visits Zadkine’s workshop. 1914-1915 Exhibition at the Freie Sezession in Berlin, at De Onafhankelijken in Amsterdam (Holland) and at the Allied Artists Association in London. Thanks to collector Paul Rodocanachi, he can settle in a workshop in the rue Rousselet. Becomes friends with Modigliani. 1916-1917 Works as a stretcher-bearer on the front. Produces drawings and watercolours dealing with war. Zadkine is discharged in 1917. He says he is ‘bodily and spiritually’ ruined by the war. After his stay in the Epernay hospital he recovers in Bruniquel, in the southwest of France. 1918-1919 Makes a series of 20 war etchings...

Homme nu assis en Tailleur, Plate 121 from Series 347 (B. 1600; Ba. 1616). Etching on wove paper. Hand signed and numbered by the artist. Edition 47/50. Image size 3.5 x 2.5 inches...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

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: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right corner. It is also hand numbered 6 in pencil from the edition of 100, at...

Salvador Dali - Nude with Flower - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,5 ...

Additional Information: Work is titled BLUE PISSOIR. Certificate of Documentation to reverse states: “This work was donated by the artist, courtesy of Luhring Augustine Gallery, to benefit Housing Works...

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 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...

Salvador Dali - Girl and Pig - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 On Rives Vellum Signed in the plate References : Field 67-4 (p. 3...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Jean Cocteau - Under the Fire Coat - Lovers - Original Lithograph Signed "Jean" in the plate and dated 1954 in the plate. Joseph Forêt Editions Dimensions: 4...

Salvador Dali - Baubo (Woman Riding a Sow), from Faust Embossed signature (from the standard book edition of 731) Dimensions: 38,5 x 28,5 cm 1969 References : Field 69-1 B / Michler ...

12" x 9" Unframed Etching of 75 Hand Signed by Soyer

after Pablo Picasso - The Human Comedy - Lithograph Signed and dated in the plate Dimensions: 32 x 24 cm This artwork is a lithograph in colors on wov...

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...

Jean Cocteau Three in One - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithogr...

After Pablo Picasso The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve" Printed signature and date Dimensions: 32...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a Faun. Jean-Gabriel Domergue Jea...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

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...

Salvador Dali - The Arrival of Iseult - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

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...

Etching on paper. Hand signed, titled and numbered by the artist. Sheet size 14 x 11 inches. Image size 9.75 x 7.5 inches. Edition of 300. Artwork is in excellent condition. Cert...

Salvador Dali - The Knights of King Arthur - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Fiel...

Salvador Dali - The Giant Beliagog - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

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 Andre Derain was born in 1880 in Chatou, an artist colony outside Paris. In 1898, he enrolled in the Academie Carriere in Paris where he met Matisse. He attended art school and in 1900, set up a studio with Maurice deVlaminck. After his military service from 1900-1904, Derain exhibited his work at the Salon des Independants and then at the Salon d'Automne with Matisse, Vlaminck and others, thus creating the movement of Fauvism.He worked with Henri Matisse in 1905 at Collioure, and participated in the 1905 Salon d’Automne with Matisse, Vlaminck, and Braque, the exhibition in which this group was labeled as Fauves, or Wild Beasts. Along with Vlaminck, Derain was one of the first artists to collect the tribal art of Africa which was influential to many of the artists of the early 20th century. In 1906, Derain met Picasso and his dealer, who purchased Derain's entire studio, creating newfound financial success. During this time, he was hired for the illustrations for works by Guillaume Apollinaire and Andre Breton. After World War I, his friend's Cubism movement affected his art, along with influence from Classicism and African Art. Derain stayed in Paris during most of the Occupation, where he was esteemed by the Nazis because of his artistic integrity. Hitler's Foreign Minister commissioned him to paint a family portrait, but he politely refused. His popularity began to decline after the war because of disagreement over new artistic movements. He later lost most of his eyesight due to illness, which may have been the reason he was hit by a truck in 1954, dying from shock at the age of 74. Derain’s Fauve paintings are typically bright with intense color. Influenced by the work of Cézanne as well as the early Cubist paintings of Picasso and Braque’s, Derain’s style changed and by 1912, the paintings became more traditional and structured. For the remainder of his career, he continued to investigate different compositional methods including the perspective of Cézanne and the pointillism of Seurat. He also designed ballet sets and made a number of sculptures. At the turn of the century, Andre Derain exhibited at the radical Fauve Salon d’Automne (1905) and was one of the founding members of the Fauvist movement together with his life-long friends Matisse and Vlaminck. The works he produced in this period, often under the guidance of Matisse, have been counted among the masterpieces of Fauvism. From around 1918, Derain turned his back on the avant-garde and had begun to explore some of the more traditional genres of Western art, including landscapes. His main source of inspiration once the Fauves group had dispersed was found in the Louvre, where he admired the early Renaissance works in particular. Talking of his frequent visits there, he once said, ‘That seemed to me then, the true, pure absolute painting.’ His work evolved through many styles and, most significantly, turned back to the past, particularly after 1922 when Lenin had publicly pronounced his disdain for abstract art. Derain built up an immense and fascinating collection of paintings, sculpture and objets d’art throughout his life which aided his experimentation and was reflected in his work between 1930 and 1945. During these years, his painting technique displayed the most avenues of invention, using a repertoire of primitivist motifs. His eclectic collection was constantly changing. In 1930 he sold his African collection in exchange for bronzes of antiquity and the Renaissance which indicated a real change of interest in the objects, as did his later pursuit of Greek ceramic painting and his enthusiasm for grand cycles of literary and antique themes...

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...

Image Size: 14" x 11" Unframed Limited Edition Giclee on Canvas Printer's Proof of 5 Hand Signed by Robert Hartshorn

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

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: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

Salvador Dali - Enrico Fermi - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Field 70-5

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

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...

Salvador Dali - Eye Watches - 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.

Salvador Dali - Jonas Salk - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel References : Field 70-5

Jean Cocteau - Under the Fire Coat - Original Lithograph Signed "Jean" in the plate and dated 1954 in the plate. Joseph Forêt Editions Dimensions: 41 x 33 cm...

Salvador Dali - Nude Ridding - from "Les Amours de Cassandre" Original Etching From the suite on Silk made for editions 9 to 34 Dimensions: 38,...