Salvador Dalí­

Divine Comedy complete set of 6 books

1959-1963

Print from the Fini book Histoire d'O, signed in pencil and numbered 9/15

From Song of Songs of Solomon, this is a beautiful print in perfect condition and framed in a conservators frame. It has vivid colors and stands out wonderfully.

With 27 full-page colour illustrations (including title). White orig. hardcover with black cover title (somewhat rubbed and soiled, back cover with minimal light...

Reprint of Andre Masson's book from 1939. Printed on heavy wove paper. 30 plates of black and white drawings.

From the 1960 collaboration Les Rois Mages, this Dali print is on Japon, numbered XXVIII/C, signed in pencil, also in the stone and with a blind stamp.

Original hand-colored woodcut from a portfolio of Secessionist fashion illustrations. Signed in the lower right margin by the artist, Reni Schaschl (1895-1979), a talented member of...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Archivally matted to museum standards, unframed. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Blanchefleur from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 150 Ara...

Nude at the Fountain– signed and dated ‘Dalí’ lower right and framed in an ornate, gold-tone frame. On japon, unnumbered from the 1967 edition of 235 portfolios. Originally publishe...

Le Diable en Enfer from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 1...

La Ressuscitée from Dalí's Le Décameron portfolio is a drypoint etching with color on paper, signed Dalí lower right and numbered 17/150 lower left. From the Swedish edition of 150 A...

Jonas and the whale is an artwork realized in 1975. Drypoint with pochoir on Arches paper, from the Series "Our Historical Heritage". Signed and numbered. Edition SA 51/300. Image 56x40cm - Sheet 66x50.5cm. Ref Michler/Löpsinger 759; Field 75-4 D. Prov. Private Collection France. Very Good condition. Salvador Dalí was an icon of Surrealism, the 20th-century avant-garde movement that sought to release unconscious creative potential through art that featured dreamlike imagery. Dalí's fantastical prints, paintings, sculptures, films, and writing helped cement the movement's identity. Working off psychoanalytic ideas, Dalí rendered fantastical creatures and landscapes that could unsettle and awe. His 1931 canvas The Persistence of Memory...