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Georges Braque - Original Lithograph
By Georges Braque
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Modern Figurative Prints
Materials
Lithograph
César - Original Lithograph
By César Baldaccini
Located in Collonge Bellerive, Geneve, CH
César - Original Lithograph
1963
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unnumbered as issued
Category
1980s Realist Abstract Prints
Materials
Lithograph
Camille Hilaire - Green Trees - Original Signed Watercolor
By Camille Hilaire
Located in Collonge Bellerive, Geneve, CH
Camille Hilaire (1916-2004)
Green Trees
Original Signed Watercolor
43 x 36 cm
Framed
Camille Hilaire
(1916-2004)
Camille Hilaire began painting from a...
Category
1970s Modern Figurative Drawings and Watercolors
Materials
Watercolor
Zao Wou-ki - Original Lithograph - Abstract Composition
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Lithograph
1971
Dimensions: 32 x 24 cm
Edition: G. di San Lazzaro.
From the art review XXe siècle
Unsigned and unnumbered as issued
Category
1970s Abstract Expressionist Abstract Prints
Materials
Lithograph
Marc Chagall - Original Lithograph
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall
Original Lithograph
1963
Dimensions: 32 x 24 cm
Unsigned, as published in "Chagall Lithographe 1957-1962. VOLUME II"
Edition of several thousand
Condition : Excellent
M...
Category
1960s Surrealist Figurative Prints
Materials
Lithograph
Bernard Buffet - Iris Still Life - Original Lithograph
By Charles Sorlier
Located in Collonge Bellerive, Geneve, CH
Bernard Buffet - Iris Still Life - Original Lithograph
Dimensions: 32 x 24 cm
Edition : 6000
Paris, Michèle Trinckvel, Draeger, 1979,
Unsigned and unumbered as issued
Category
1970s Modern Portrait Prints
Materials
Lithograph
Georges Braque - Original Lithograph
By Georges Braque
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Pierre Bonnard - The Sun - Original Lithograph
By Pierre Bonnard
Located in Collonge Bellerive, Geneve, CH
Pierre Bonnard - The Sun
Original Lithograph
Dimensions: 32 x 24 cm
Verve . Revue Artistique et Litteraire. Vol. V, Nos 17 et 18.
Signed in the plate
Unumbered as issued
Category
1940s Modern Figurative Prints
Materials
Lithograph
Joan Miro - Original Lithograph - Frontispiece for "Prints from Mourlot Press"
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - 1964
Dimensions: 30 x 20 cm
Edition of 200 (one of the 200 on Vélin de Rives) reserved for collaborators, there was also a larger edition of 2000
From "Prints from the Mo...
Category
1960s Modern Abstract Prints
Materials
Lithograph
Original Photography Signed by Cyrille Druart
By Cyrille Druart
Located in Collonge Bellerive, Geneve, CH
Black and white original photography by Cyrille Druart.
Edition: I/VIII
Dimensions: 90 x 60 cm
Signed and numbered
Cyrille Druart is a French photograph and architect, a book abo...
Category
2010s Black and White Photography
Materials
Photographic Film
Henry Moore - Original Lithograph
By Henry Moore
Located in Collonge Bellerive, Geneve, CH
Henry Moore - Original Lithograph
1977
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1970s Surrealist Animal Prints
Materials
Lithograph
After Alberto Magnelli - Sorlier Lithograph
By Alberto Magnelli
Located in Collonge Bellerive, Geneve, CH
Alberto Magnelli (After)
Lithograph, Charles Sorlier
32 x 24 cm
1971
XXe siècle, San Lazzaro
Signed in the plate
Unumbered as issued
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Bernard Buffet - House of Cards - Original Lithograph
By Bernard Buffet
Located in Collonge Bellerive, Geneve, CH
Bernard Buffet - House of Cards - Original Lithograph
Dimensions: 32 x 24 cm
Edition : 6000
Paris, Michèle Trinckvel, Draeger, 1979,
Unsigned and unumb...
Category
1970s Modern Interior Prints
Materials
Lithograph
Marino Marini - Knight - Original Lithograph
By Marino Marini
Located in Collonge Bellerive, Geneve, CH
Marino Marini - Knight - Original Lithograph
1968
Dimensions: 32 x 48 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1960s Surrealist Animal Prints
Materials
Lithograph
Alfred Manessier - Lithograph
By Alfred Manessier
Located in Collonge Bellerive, Geneve, CH
Alfred Manessier - Lithograph
1962
From the art periodical XXe Siecle (no. 20)
Dimensions: 32 x 24
Edition: G. di San Lazzaro.
Unsigned and unnumbered as issued
Category
1960s Modern Figurative Prints
Materials
Lithograph
Max Ernst - Birds - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst - Birds - Original Lithograph
Birds, 1964
Dimensions: 32 x 24 cm
From the art review XXe siècle
Unsigned and unumbered as issued
Category
1960s Surrealist Animal Prints
Materials
Lithograph
Maurice Estève - Composition - Original Lithograph
By Maurice Estève
Located in Collonge Bellerive, Geneve, CH
Maurice Estève - Composition - Original Lithograph
Colorful Abstraction
1969
From the art review XXe Siecle
Dimensions: 32 x 24 inches
Edition: G. di Sa...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Giuseppe Capogrossi - Original Lithograph
By Guiseppe Capogrossi
Located in Collonge Bellerive, Geneve, CH
Giuseppe Capogrossi - Original Lithograph
Colorful Abstraction
1969
From the art revue XXe Siecle
Dimensions: 19 x 12.25 inches
Edition: G. di San ...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Original Photography Signed by Cyrille Druart
By Cyrille Druart
Located in Collonge Bellerive, Geneve, CH
Black and white original photography by Cyrille Druart.
Edition: I/VIII
Dimensions: 112 x 200 cm
Signed and Numbered
Cyrille Druart is a French photograph and architect, a book a...
Category
2010s Post-Modern Portrait Photography
Materials
Photographic Paper
Joan Miro - Original Lithograph
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Reference : Mourlot 1106
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Unsi...
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Joan Miro - a plate from L'Issue Dérobée
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - a plate from L'Issue Dérobée
Etching, aquatint and drypoint in colors
1974
Dimensions: 36 x 54 cm
Edition: 220
Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 19...
Category
1970s Modern Abstract Prints
Materials
Lithograph
Agustina Bottoni - Melodicware — Sound Sculpture
By Agustina Bottoni
Located in Collonge Bellerive, Geneve, CH
Sculpted BY AGUSTINA BOTTONI
Hand-Sculpted in Italy
Materials: solid brass with satin fnish -
base in black Marquina or white Carrara marble
Dimensions: 185 cm x 50 cm / 73’’ x 19,6’...
Category
2010s Abstract Abstract Sculptures
Materials
Brass
Leonor Fini - Cats - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Animal Prints
Materials
Etching
Joan Miro - L'Issue Dérobée - Original Aquatint
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - L'Issue Dérobée - Original Aquatint
1974
Dimensions: 36 x 54 cm
Edition: 220
Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187)
Biography
Joa...
Category
1970s Modern Abstract Prints
Materials
Lithograph
Leonor Fini - Red Cats - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Animal Prints
Materials
Etching
Max Ernst - Birds - Original Lithograph
By Max Ernst
Located in Collonge Bellerive, Geneve, CH
Max Ernst - Birds - Original Lithograph
Birds, 1964 (BNF, 63)
Dimensions: 32 x 24 cm
Revue Art de France
ax 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...
Category
1960s Surrealist Animal Prints
Materials
Lithograph
Joan Miro - L'Issue Dérobée: one plate - Original Aquatint
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro - L'Issue Dérobée - Original Aquatint
One plate from Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (D. 687-706; C. books 187)
1974
Dimensions: 36 x 54 cm
Ed...
Category
1970s Modern Abstract Prints
Materials
Drypoint, Aquatint
After Marc Chagall - Lithograph
By (after) Marc Chagall
Located in Collonge Bellerive, Geneve, CH
After Marc Chagall - Lithograph
From the deluxe art review, Derrière le Mirroir, printed by Charles Sorlier
1964
Printed signature
Dimensions: 38 x...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Salvador Dali - Merry Xmas - Original HandSigned Etching
By Salvador Dalí
Located in Collonge Bellerive, Geneve, CH
Original Handsigned Etching by Salvador Dali
Hand-Enhanced with Gold painting
Title: Merry Christmas
Signed in pencil
Edition: EA
Dimensions: 23 x 17.5 cm
Publisher : Phyllis Lucas Gallery...
Category
1960s Surrealist Figurative Prints
Materials
Etching
Salvador Dali - The Oak and the Reed - Signed Engraving
By Salvador Dalí
Located in Collonge Bellerive, Geneve, CH
SALVADOR DALI
The Oak and the Reed (La chêne et le roseau) from Le Bestiaire de la Fontaine
1974
Hand signed by Dali
Edition: /250
Conditions: A small tear defect has been restaured...
Category
1970s Surrealist Figurative Prints
Materials
Drypoint, Aquatint
Leonor Fini - Cat - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Animal Prints
Materials
Etching
Jacques Dupin, L'Issue Dérobée: one plate
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
One plate from the illustrated book Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974
Original prints by Joan Miro (C. books 187)
Edition: 220
Individual images are unsigne...
Category
1970s Modern Abstract Prints
Materials
Drypoint, Aquatint
Frontispiece for "Le Plafond de l'Opéra de Paris"
By Marc Chagall
Located in Collonge Bellerive, Geneve, CH
Marc Chagall
Original Lithograph
Frontispiece for the book "Le Plafond de l'Opéra de Paris (The Ceiling of the Paris Opera)" by Jacques Lassaigne (Paris...
Category
1960s Surrealist Figurative Prints
Materials
Lithograph
Joan Miro (After) - Pochoir Pour 'XX Siecle'- Abstract Stencil
By (after) Joan Miró
Located in Collonge Bellerive, Geneve, CH
Published in the deluxe art review, XXe Siecle in 1958.
Printed by Daniel Jacomet.
1958
Dimensions: 32 x 25 cm
Publisher: G. di San Lazzaro.
Catalogue raisonne: Dupin 1312
Biogr...
Category
1950s Abstract Abstract Prints
Materials
Stencil
Raoul Ubac - Original Etching
By Raoul Ubac
Located in Collonge Bellerive, Geneve, CH
Raoul Ubac - Original Etching
1958
Dimensions: 32 x 25 cm
Edition: G. di San Lazzaro.
The painter-sculptor Raoul Ubac was born in 1910 in Malmédy (Ardennes, Belgium). He went to sc...
Category
1950s Abstract Expressionist Abstract Prints
Materials
Etching
(after) Max Ernst - Blue Bird - Stencil
By (after) Max Ernst
Located in Collonge Bellerive, Geneve, CH
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...
Category
1950s Surrealist Animal Prints
Materials
Stencil
Giuseppe Capogrossi - Stencil
By Guiseppe Capogrossi
Located in Collonge Bellerive, Geneve, CH
Giuseppe Capogrossi - Stencil
1958
Dimensions: 32 x 25 cm
Edition: G. di San Lazzaro.
Giuseppe Capogrossi
B. 1900, ROME; D. 1972, ROME
Giuseppe C...
Category
1950s Abstract Expressionist Abstract Prints
Materials
Lithograph
Victor Vasarely (after) - Stencil
By Victor Vasarely
Located in Collonge Bellerive, Geneve, CH
Victor Vasarely (after) - pochoir print by Daniel Jacomet
Published in the deluxe art review, XXe Siecle
1958
Dimensions: 32 x 25 cm
Publisher: G. di San Lazzaro.
Victor Vasarely...
Category
1950s Kinetic Abstract Prints
Materials
Stencil
Henri Michaux - Original Zinchograph
By Henri Michaux
Located in Collonge Bellerive, Geneve, CH
Henri Michaux - Original Zinchograph
1958
Dimensions: 32 x 25 cm
Edition: G. di San Lazzaro.
Henri Michaux (1899 - 1984)
The French writer, painter and graphic artist Henri Michau...
Category
1990s Abstract Expressionist Abstract Prints
Materials
Lithograph
Zao Wou-ki - Original Lithograph from XXe Siecle magazine
By Zao Wou-Ki
Located in Collonge Bellerive, Geneve, CH
Zao Wou-ki - Original Lithograph from XXe Siecle magazine
1958
Dimensions: 32 x 25 cm
Edition: G. di San Lazzaro.
Zao Wou Ki (1921 - 2013)
At the tender age of fourteen Zao Wou-Ki...
Category
1950s Abstract Expressionist Abstract Prints
Materials
Lithograph
Raoul Dufy - Chickens - Original Etching
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
Raoul Dufy - Chickens - Original Etching
Dimensions: 13 x 10".
Edition of 200
1940
Edition Les Bibliophiles du Palais, Paris
Unsigned and unumbered as issued
Category
1940s Modern Portrait Prints
Materials
Etching
Alberto Giacometti - Original Lithograph
By Alberto Giacometti
Located in Collonge Bellerive, Geneve, CH
Alberto Giacometti - Original Lithograph
1964
Dimensions: 38 x 28 cm
From the journal Derrière le Miroir No. 148, 1964
Edition: Foundation Maeght at Saint Paul
Alberto Giacometti...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Jenkell - Wrapping Bonbon Red - Sculpture
By Laurence Jenkell
Located in Collonge Bellerive, Geneve, CH
Laurence Jenkell
Wrapping Bonbon Red
Plexiglas Sculpture
I/I
Signed and Numbered
Dimensions: 90 x 33 x 28 cm
Laurence Jenkell lives and works in Vallauris, in the French Alpes-maritimes. Self-taught, she started to create on her own in the middle of the 90s. Her artistic research led her to experiment with various techniques such as inclusion, dripping, firing, casting, etc.
After multiple attempts, she successfully mastered and dominated Plexiglas, obtaining the “wrapping” technique, which will allow her to produce the Candy sculpture...
Category
2010s Figurative Sculptures
Materials
Plexiglass
Salvador Dali - La Fontaine Portrait - Handsigned Engraving
By Salvador Dalí
Located in Collonge Bellerive, Geneve, CH
Salvador Dali - La Fontaine Portrait - Handsigned Engraving
1974
Hand signed by Dali
Edition: /250
The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper
Referenc...
Category
1970s Surrealist Figurative Prints
Materials
Drypoint, Aquatint
Leonor Fini - Cats Trio - Original Hand-Signed Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
Leonor Fini - Cats - Original Engraving
Mme.Helvetius' Cats
Original etching created in 1985
Hand-Signed
Conditions: excellent
Edition: 71/100
Support: Arches paper.
Dimensions: Pape...
Category
1980s Modern Animal Prints
Materials
Etching
Leonor Fini - Magical Cat - Original Etching
By Leonor Fini
Located in Collonge Bellerive, Geneve, CH
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...
Category
1980s Modern Animal Prints
Materials
Etching
Salvador Dali - The Rider and the Deer - Handsigned Engraving
By Salvador Dalí
Located in Collonge Bellerive, Geneve, CH
Salvador Dali - The Rider and the Deer - Handsigned Engraving
1974
Hand signed by Dali
Edition: /250
The dimensions of the image are 22.8 x 15.7 inches on 3...
Category
1970s Surrealist Figurative Prints
Materials
Drypoint, Aquatint
Raoul Dufy - French Dinner - Original Etching
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
Raoul Dufy - French Dinner - Original Etching
Dimensions: 13 x 10".
Edition of 200
1940
Edition Les Bibliophiles du Palais, Paris
Unsigned and unumbered as issued
Category
1940s Modern Portrait Prints
Materials
Etching
Raoul Dufy - French Campagne - Original Etching
By Raoul Dufy
Located in Collonge Bellerive, Geneve, CH
Raoul Dufy - French Campagne - Original Etching
Dimensions: 13 x 10".
Edition of 200
1940
Edition Les Bibliophiles du Palais, Paris
Unsigned and unumbered as issued
Category
1940s Modern Portrait Prints
Materials
Etching
Lithograph after Georges Braque
Located in Collonge Bellerive, Geneve, CH
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...
Category
1960s Modern Figurative Prints
Materials
Lithograph
Jean-Paul Riopelle - Original Lithograph
By Jean-Paul Riopelle
Located in Collonge Bellerive, Geneve, CH
Jean-Paul Riopelle - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Jean-Paul Riopelle...
Category
1970s Abstract Expressionist Figurative Prints
Materials
Lithograph
Valerio Adami - Original Lithograph
By Valerio Adami
Located in Collonge Bellerive, Geneve, CH
Valerio Adami - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Valerio ADAMI was born ...
Category
1970s Abstract Geometric Figurative Prints
Materials
Lithograph
Jean Bazaine - Original Lithograph
By Jean Bazaine
Located in Collonge Bellerive, Geneve, CH
Jean Bazaine - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
ean Bazaine is born in P...
Category
1970s Abstract Geometric Figurative Prints
Materials
Lithograph
Konrad Klapheck - Original Lithograph
By Konrad Klapheck
Located in Collonge Bellerive, Geneve, CH
Konrad Klapheck - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Konrad Klapheck (born...
Category
1970s Abstract Geometric Figurative Prints
Materials
Lithograph
Pierre Tal Coat - Original Lithograph
By Pierre Tal-Coat
Located in Collonge Bellerive, Geneve, CH
Pierre Tal Coat - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San ...
Category
1970s Abstract Expressionist Figurative Prints
Materials
Lithograph
Paul Rebeyrolle - Original Lithograph
By Paul Rebeyrolle
Located in Collonge Bellerive, Geneve, CH
Pablo Palazuelo - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Paul Rebeyrolle (1926...
Category
1970s Modern Figurative Prints
Materials
Lithograph
Pablo Palazuelo - Original Lithograph
By Pablo Palazuelo
Located in Collonge Bellerive, Geneve, CH
Pablo Palazuelo - Original Lithograph
1976
Dimensions: 32 x 25 cm
Revue XXe Siècle
Edition: Cahiers d'art published under the direction of G. di San Lazzaro.
Pablo Palazuelo
B. 19...
Category
1970s Abstract Geometric Figurative Prints
Materials
Lithograph
Eduardo Chillida - Original Lithograph
By Eduardo Chillida
Located in Collonge Bellerive, Geneve, CH
Eduardo Chillida - Original Lithograph
1982
Dimensions: 38 x 28 cm
Printed signature
Source: Derrière le miroir (DLM) 250
Text on verso, no show-through
Eduardo Chillida was born on...
Category
1970s Abstract Geometric Abstract Prints
Materials
Lithograph
Joan Miro - Original Abstract Lithograph
By Joan Miró
Located in Collonge Bellerive, Geneve, CH
Joan Miro Miro Original Abstract Lithograph
Artist: Joan Miro
Medium: Original lithograph on Rives vellum
Portfolio: Miro Lithographe III
Year: 1976
Edit...
Category
1970s Abstract Abstract Prints
Materials
Lithograph
Salvador Dali - Mission Dolores - San Francisco - Original Hand-Signed Etching
By Salvador Dalí
Located in Collonge Bellerive, Geneve, CH
Salvador Dali - Mission Dolores - San Francisco - Original Hand-Signed Etching
Title: Mission Dolores - San Francisco
Drypoint
Handsigned
Dimensions: 65 x 50 cm
Edition EA
Catalogue ...
Category
1970s Surrealist Figurative Prints
Materials
Etching