Continental Europe - Animal Prints

Marino Marini - Knight - Original Lithograph 1968 Dimensions: 32 x 48 cm From the art review XXe siècle Unsigned and unumbered as issued

(after) Marcel Gromaire Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signatur...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

(after) Charles Lapicque Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signatu...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Paul Jouve - Chimpanzee - Original Engraving Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Artwork by Paul Jouve. Original copper engraving ...

Giuseppe Capogrossi - Original Lithograph Colorful Abstraction 1969 From the art revue XXe Siecle Dimensions: 19 x 12.25 inches Edition: G. di San ...

Alfred Manessier - Original Lithograph Colorful Abstraction 1962 From XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unumbered as issued

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...

Lithograph after Georges Braque From the deluxe art review, Derrière le Mirroir 1964 Printed signature Dimensions: 38 x 28 cm DLM No. 148, 1964 Edition: Foundation Maeght at Saint P...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Edition : 199 Dimensions: 40 x 30 cm Refe...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in German, French and English) Sheet S...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in German, French and English) Sheet S...

Antoni Clavé - Original Lithograph - For Alexander Pushkin's Queen of Spades Dimensions: 325 x 247 mm. 1946 Original lithograph of Antoni Clavé Edition: 300 The Queen of Spades. Tr...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

(after) Jean Lurçat Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Dimensions: ...

(after) Marc Chagall Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Dimensions:...

Takeru Amano (Japanese, b. 1977) The Dog, 2022 Medium: Screenprint on 300gsm Somerset satin rag paper Dimensions: 27 1/5 × 27 1/5 in 69 × 69 cm Edition of 99: Hand-signed and number...

François Xavier Lalanne The Rat 2003 Original print aquatint and varnish signed in pencil Size of the paper : 28 x 38 cm Size of the work : 16,2 x 18,8cm Selling price : 1500 ...

François Xavier Lalanne Cerberus - 2005 Signed Pigment printing Dimensions: 28 x 38 Engraving dimensions: 18.5 x 23

Etching by Louise Bourgeois from 1995 from the portfolio "Ode à ma Mère": book with a text by Louise Bourgeois (English French) and 9 etchings. The present copy (sheet 1 from ...

Joana Vasconcelos Crocheted Creatures Haendel 2023 Archival pigment print 146.3 × 111.76 cm (57.6 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the use of crochet and the compartmentalisation of forms, Vasconcelos reiterates the concept that individuals frequently behave and exist separately from their conscience, showing a lack of sufficient scrutiny of their perceptions. The paradox of lace is highlighted, as it served as a means for Portuguese women to address the emptiness in their lives, representing the sole form of expression in response to an entirely passive social...

Lithographic print / Black ink printed on 240gr JOHANOT paper. Can a shark fall in love with its image in a reflection? A very explicit title removes any ambiguity about the subject ...

"Minotaure-Manga-B ". Lithographic print / Black ink printed on 240gr JOHANOT paper. Dimensions : 56 x 38 cm signed and numbered at 6 copies by the artist The prints were made in...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

"Oiseau de nuit noir" (Bird of the black night) by Georges Braque from Guillaume Apollinaire's “Si je mourais là-bas” (If I die there). The portfolio was published on the occasion of...

Pig day. 1984. Paper, linocut, 25x34 cm imprint size 13x25 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrat...

Sunrise. 1984. Paper, linocut, 25x34 cm imprint size 14x25,5 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction pu...

Rooster. 1984. Paper, linocut, 25x34 cm imprint size 13x26 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publ...

Arbitrariness of the master. 1982. Paper, linocut, 20x34 cm imprint size 9,5x26 cm total page size 20x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folk...

In slavery to the lord and manor. 1982. Paper, linocut, 25x34 cm imprint size 13x26 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of ...

A fight against the lords. 1982. Paper, linocut, 25x34 cm imprint size 14x26 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklor...

The poor man. 1982. Paper, linocut, 25x34 cm imprint size 13,5x27 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrat...

Shepherd's job. 1979. Paper, linocut, 25x34 cm imprint size 13x25,5 cm total page size 25x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fi...

Feast and singing. 1984. Paper, linocut, 20x34 cm imprint size 10x26 cm total page size 20x34cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fi...

Wings. 1975., Woodcut, 70x50 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The main directions of Rožkalns' professiona...

Joana Vasconcelos Crocheted Creatures Impetuoso 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the ...

Latvian folk songs, volume VII, 1994. Paper, linocut, 23,5x33 cm imprint size 9x26 cm total page size 23,5x33cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of...

Joana Vasconcelos Crocheted Creatures Megera 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the use...

Joana Vasconcelos Crocheted Creatures Copernic 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the u...

"Poissons volants bleus" (Blue flying fish) by Georges Braque from Guillaume Apollinaire's “Si je mourais là-bas” (If I die there). The portfolio was published on the occasion of Geo...

Original hand-watercoloured lithograph also signed in plate by publisher C. Hallmandel; C. E. Jackson, "Dictionary of Bird artists of the world", Woodbridge, Suffolk 1999, pp. 259-26...

Etching by Louise Bourgeois from 1995 from the portfolio "Ode à ma Mère": book with a text by Louise Bourgeois (English French) and 9 etchings. The present copy (sheet 4 from ...

Includes a Certificate of Authenticity

Fascinated by an experience in the Camargue bird sanctuary in 1955, the bird became a symbol of freedom and harmony for Georges Braque. ‘I now only draw birds, after my still lifes h...

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

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...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Edition : 199 Dimensions: 40 x 30 cm Refe...

Max Ernst (1891-1976) Georges Ribemont-Dessaignes, La Ballade du Soldat, Pierre Chave, Vence, 1972 Colour lithographs on Arches paper 1972 Dimensions: 40 x 30 cm Reference: Spies &...