Continental US - Nude Prints

Artist: After Pablo Picasso (1881-1973) Title: Flûtiste et Jeune Fille au Tambourin (after Bloch 213) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype...

Richard Meier Kabbalah, 2011 Silkscreen collage with hand-coloring and photography sheet size: 30" x 30" signed numbered dated in pencil by the artist edition of 50 Richard M...

Artist: Dan May (American, 1955-) Title: "A Man and His Dreams" *Signed by May in pencil lower left Year: 1991 Medium: Original Screenprint on unbranded white wove paper Limited edit...

This piece titled "Justine Kelley Untitled 1" is an original artwork by Justine Kelley made from silkscreen printing on paper This piece measures 22.75”h x 12.5”w. Justine Kelley is...

Signed, titled and numbered by the artist. Edition of 50. Female nude etching, from a series of 6 male and 6 female images. Reyes attended The School of the Art Institute of Chica...

This is from a series of linocuts made with a single horizontal line. The resulting mesh of black and white creates a shimmering effect that both defines and blurs the image. Objects...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Artist: Mel Ramos (American, 1935-2018) Title: "Peace" *Unsigned edition Year: 1970 Medium: Original Offset-Lithograph on light smooth wove paper Limited edition: 50, (there was also...

Jean Vyboud "Reclining Nude" Original Pencil Signed Etching C.1920 Beautiful 1920s nude etching by listed French artist Jean Vyboud (1872-1944) P...

Birthday 3-7-65 Lithograph, 1965 Signed, titled, dated and numbered in pencil (see photos) Edition: 23 Published by ULAE, their chop stamp lower left (see photo) Printed by Ben Berns...

Certification of Authenticity stamped verso; additionally accompanied by old exhibition label. Provenance: 28th Annual Exhibition of Art, San Francisco Women Artists, San Francisco...

Artist: Mel Ramos, American (1935 - 2018) Title: Photoshop CS (Michelle Pfeiffer) Year: 2008 Medium: Enamel on Steel, signed and numbered in marker ...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful...

Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful...

Artist: Dan May (American, 1955-) Title: "Cleaning Crew" *Signed and numbered by May in pencil lower left Year: 1996 Medium: Original Linocut on white Hosho handmade paper Limited ed...

Artist: Tom Wesselmann Title: American Nude Portfolio: 1¢ Life Medium: Lithograph in colors Date: 1964 Edition: 2000 Frame Size: 20 3/4" x 28 1/2" Sheet Size: 16 1/4" x 22 3/4" Image...

Michael Knigin, American (1942 - 2011) - World Order, Year: 2002, Medium: Chromogenic Print on Canvas mounted to board, signed and dated lower left and signed, titled, numbered and ...

Artist: After Pablo Picasso (1881-1973) Title: Minotaure attaquant une Amazone (after Bloch 195) Year: 1992 Medium: Reproduced from the original edition using the grain Autotype half...

Artist: Mel Ramos (American, b. 1935) Title: Reese's Rose Year: 2009 Medium: Lithograph, signed and numbered in pencil Edition: AP 50, 199 Size: 45 in. x 27.5 in. (114.3 cm x 69.85 cm)

Charles Bragg, American (1931 - 2017) - Artist and Model, Medium: Lithograph on Japon paper, signed and numbered in pencil, Edition: AP XXV, Image Size: 8 x 13.75 inches, Frame Siz...

David Smith-Harrison’s mixed-media print—combining photogravure, etching, and monoprint—presents a striking reinterpretation of classical sculpture. An elegantly modeled male nude st...

Leaves of Love-Orange Lady is an original signed limited edition (XXII/ XXX) lithograph by Alessandro Nastasio showing a full figured orange colored nude holding flowers in each hand standing with her bare feet on the ground. She appears to have wing like orange and green leaves surrounding her. Paper size 18.25 x 11.75 image 13 x 7.75 in very good condition. Alessandro Nastasio was born in Milan in 1934. In 1952 he followed the “free school of the nude” led by Aldo Salvatori. In 1960 he attended the Atelier of Giorgio Upilio where Giacometti, Lam, Fontana, De Chirico worked and where he had the opportunity to study the themes of the inspiring myths. He worked at the MAF foundry with the master Tullio Figini who shared the secrets of the lost wax Renaissance fusion and where he met the masters Crocetti, Manfrini, Manzu , Minguzzi, Fabbri,. He then moved on to Quinto de Stampi at the De Andreis foundry where Marino Marini, Pomodoro, Rudy Wach, Strebelle, Negri and Rosental operated. A regular reader of the great sapienzal texts of antiquity, he trained in particular on the Bible which he illustrated with woodcuts, aquatints, etchings and linocuts, especially the Song of Songs, the book of Ecclesiastes and several pages of the Gospels He also drew his inspiration from the philosophical-religious tradition of the Eastern world through the reading of Rig-Veda, Upanisad and the Matnavi of Rumi. In 1966-67 he obtained the chair at the Academy of Fine Arts of Brera and for thirty years he devoted himself to the teaching of Art Education in various schools. Nastasio created works both pictorial and plastic in collaboration with famous architects such as: Figini and Pollini, De Carli, Gardella, Faranda, Selleri, Ponti. His great talent soon came to the attention of various art dealers: first Max G...

Saint Clair Cemin, Brazilian (1951 - ) - Topless Woman, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 26/40, Image Size: 6 x 4.5...

Artist: Dan May (American, 1955-) Title: "Nude" *Signed by May in pencil lower left Year: 1997 Medium: Original Monoprint on unbranded white cotton rag laid paper Limited edition: (1...

Michael Knigin, American (1942 - 2011) - Forbidden Goal, Year: 2002, Medium: Chromogenic Print and Acrylic on Canvas mounted to board, signed, titled, and numbered on verso and sign...

Michael Knigin, American (1942 - 2011) - On Her Merits II, Medium: Chromogenic Print on Canvas mounted to board, signed, titled and numbered on verso, Edition: 15/90, Size: 23 x 16 ...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching Image size: cm 39.5 x 29.5, sheet cm 53 x 39 ...

Saint Clair Cemin, Brazilian (1951 - ) - Nude Woman in Bed, Year: 1978, Medium: Etching and Aquatint on Arches, signed, numbered and dated in pencil, Edition: 9/30, Image Size: 5.75...

An original lithographic poster of a seated nude in the rust color of conte crayon by French artist Andre Derain printed for Galerie Maeght in the atelie...

An etching by Leonor Fini depicting three men and three woman interacting in various ways and one of the woman sitting in the foreground is playing the lute. This is a signed limited edition etching numbering 68 out of 100. There is also a signature by the artist embossed in the paper just below the pencil signature. The paper is very fibrous and is deckle -edged. The paper size is 26 x 20.25 Image size 15.50 x 12.50. This original rare etching is in very good condition. Argentinian-born artist Leonor Fini (1907-1996) is considered one of the great female artists of the twentieth century. She moved to Paris in the early 1930’s where she spent most of her life and almost immediately formed friendships with Salvador Dali, Cartier- Bresson, Max Ernst and other intellectuals of the time. At twenty five she had her first one person show in Paris and was included in the 1936 pivotal exhibition at MOMA…Fantastic Art, Dada and Surrealism…..and that same year had an exhibition at a famous avant garde gallery in New York. Although Fini never considered herself a Surrealist she maintained close personal relationships with several members of the group. One can see how their ideology influenced her work but she remained firmly rooted in the tradition of Symbolism, Metaphysics and Italian and German Romanticism Her works can be found in most important collections of modern art around the world. Fini was renowned as a portraitist and as a painter of erotic sexual tensions with a mysterious atmosphere. She was adamant about being independent and not belonging to any one group. She lived life on her own terms and is sometimes referred to as …..the female Dali. She was also involved with designing for fashion and creating elaborate sets for opera and theatre. As a feminist she was definitely ahead of the times. She produced the first erotic male nude...

Matin Calme Daniel Gelis, French (1942) Date: circa 1980 Lithograph on Arches, signed and numbered in pencil Edition of 137/180 Size: 22 x 27 in. (55.88 x 68.58 cm)

Untitled (Gossip) 1976 Serigraph Ed. Edition of 175 25.75 x 20.5 inches

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations verso Editioned from a very small edition of #7/10 'Musee du Louvre' blindstamp. Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Bath John Hardy, American (1923–2014) Date: circa 1976 Lithograph, Signed in Pencil Edition of 275 Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Andre Masson, French (1896 - 1987) - La femme au poisson, Year: 1972, Medium: Etching, signed in pencil, Image Size: 6 x 5.5 inches, Size: 12.5 x 11 in. (31.75 x 27.94 cm), Descript...

Auguste Rodin, French (1840 - 1917) - Le Printemps II (Red-Brown), Year: 1882-1888, Medium: Color Etching on Japan paper, Image Size: 5.5 x 3.75 inches, Size: 9 x 6.25 in. (22.86 x ...

The present work is an excellent example of the erotic Shunga prints produced by Utagawa 'Ando' Hioshige and his school. Shunga imagery became especially widespread in Japan with the...

Rufino Tamayo Femme au Collant Noir, 1969 Color lithograph Unframed dimensions: 27.50 x 21 in Framed dimensions: 37.625 x 30.75 Edition 4/150 This limited edition color lithograph i...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching with the addition of hand watercolor painting ...

This unframed piece titled, "Aquarius Lavis" by Guillaume Azouky was created in 1995. The piece is a water color print etching with gold leaf, it is limited edition, being 6 out 50 t...

Enrico Baj (1924-2003) Italian, limited edition print. Hand signed and numbered in pencil from limited edition of 100 Aquatint etching Image size: cm 39.5 x 29.5, sheet cm 53 x 39 ...

After Hans Bellmer (German, 1902-1975) Surrealist engraving, etching after drawings from a 1942 notebook, engraved in 1974-75 by Cecile Reims Printed by L'Atelier de Chalcographie du Louvre, Paris, Having printed monogram lower left in plate, pencil notations and #7/10 and 'Musee du Louvre' blindstamp verso Dimensions: Sheet 11 X 7.5, Plate size 6.5 X 4 Hans Bellmer ( 1902 – 1975) was a Polish born German artist, best known for his drawings, etchings that illustrates the 1940 edition of Histoire de l’œil, and the life-sized female sculpture mannequin dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, he worked as a draftsman for his own advertising company. Bellmer is most famous for the creation of a series of dolls as well as photographs of them. He was influenced in his choice of art form in part by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925) and Surrealism. Bellmer's puppet doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmer's promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbach's Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys. After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl (his work bears connection to the works of Bathus). Hirschfeld has claimed (without further argumentation) that Bellmer initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls (according to this view) were directed specifically at the cult of the perfect body then prominent in Germany. He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis. He was part of the circle of Surrealist luminaries such as Man Ray, Marcel Duchamp, Max Ernst, Joan Miro, André Masson, René Magritte, Alberto Giacometti and Salvador Dali as well as women artists—such as Frida Kahlo, Dorothea Tanning and Leonora Carrington. Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the doll's hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work. Bellmer's 1934 anonymous book, The Doll (Die Puppe), produced and published privately in Germany, contains 10 black-and-white photographs of Bellmer's first doll arranged in a series of "tableaux vivants" (living pictures). The book was not credited to him, as he worked in isolation, and his photographs remained almost unknown in Germany. Yet Bellmer's work was eventually declared "degenerate" (entartete kunst) by the Nazi Party, and he was forced to flee Germany to France in 1938, where Bellmer's work was welcomed by the Surrealists around Andre Breton. He aided the French Resistance during the war by making fake passports. He was imprisoned in the Camp des Milles prison at Aix-en-Provence, a brickworks camp for German nationals, from September 1939 until the end of the Phoney War in May 1940. After the war, Bellmer lived the rest of his life in Paris. Bellmer gave up doll-making and spent the following decades creating erotic drawings, etchings, sexually explicit photographs, paintings, and prints of pubescent girls. In 1954, he met Unica Zürn...

Artist: Dan May (American, 1955-) Title: "Asleep on the Devil's Shoulder" *Signed and numbered by May in pencil lower left Year: 1997 Medium: Original Linocut on white Hosho handmade...

Artist: Dan May (American, 1955-) Title: "Reclining Nude (Blue)" Portfolio: Reclining Nudes *Signed and numbered by May in pencil lower left Year: 1983 Medium: Original Screenprint o...

ARTIST: Salvador Dali TITLE: Hommage a Albrecht Durer Venus Mars Cupidon MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Vision Nouvelle EDITION NUMBER: EA MEASUREMENTS: 23" x ...

ARTIST: Salvador Dali TITLE: Hommage a Albrecht Durer Renaissance MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Vision Nouvelle EDITION NUMBER: EA MEASUREMENTS: 15.3" x 22.8"...

Deux Antillaise (Deux Négresses) Edition: Proof on Van Gelder paper Unsigned (as usual for this image) Edition: unknown Published by Ambrose Vollard, Paris (?) References: Johnson 25...

Henri Matisse, French (1869 - 1954) - Reclining Female Nude, Portfolio: Poesies de Stephane Mallarme, Year: 1930, Medium: Etching, Size: 13 x 9.5 in. (33.02 x 24.13 cm), Printer: R...

Artist: Mel Ramos Title: Manet's Olympia Year: 1974 Medium: Lithograph, signed and numbered in pencil Edition: 147/200 Image Size: 16 x 23 inches Paper Size: 19.25 x 27 inches Fram...

Artist: Henri Matisse (after) Title: Nude With Oranges Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Sheet Size: 14" x 10 1/2" Signature: Si...

Aubrey Schwartz, American (1928 - 2019) - Two Figures from The Midget and the Dwarf Portfolio, Year: 1960, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 19/...

Untitled (Mirror) 1976 Serigraph Ed. Edition of 175 25.75 x 20.5 inches

Arno Breker is an artist supported by the Nazi regime and a German sculptor whose neoclassical works meet the military aesthetic of the regime. Breker was born on July 29, 1900, in E...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

Framed poster for "Annie Leibovitz Photographs 1970-1990" at the National Portrait Gallery. Depicts Leibovitz's iconic image of a nude John Lennon with his arms and legs wrapped arou...

Artist: Henri Matisse (after) Title: Nus Bleus VIII Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Frame Size: 20" x 16 3/4" Sheet Size: 14" ...

Robert Beauchamp, American (1923 - 1995) - Watermelon, Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 200, Size: 25 in. x 32 in. (63.5 cm x 81.28 cm)

Robert Beauchamp, American (1923 - 1995) - Blonde, Year: circa 1975, Medium: Lithograph, signed and numbered in pencil, Edition: 100, Size: 18 in. x 26 in. (45.72 cm x 66.04 cm),...

Biagio Civale, Italian/American (1936 - ) - Model at Cagliari, Medium: Screenprint, Signed and Numbered in Pencil, Edition: 48/100, Size: 27.5 x 19 in. (69.85 x 48.26 cm)