Gustave Doré Art

Etching, signed bottom right Image size: 2 1/2 x 9 3/4 inches (6.5 x 35 cm) Mounted This is an original print from a copper plate etching by Robert Smith Forrest. It depicts one of ...

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...

"Corralled Horse", is an etching on paper by western artist Ethel Magafan (1916-1993) of a single dark horse standing outside in a wooden fenced corral. Presented in a custom frame, outer dimensions measure 19 x 23 inches. Image size is 10 x 14 inches. This is marked as an Artist Proof Piece is in very good condition - please contact us for a detailed condition report. Provenance: Estate of Artist, Ethel Magafan Expedited and international shipping is available - please contact us for a quote. About the Artist: Ethel Magafan Born 1916 Died 1993 The daughter of a Greek immigrant father and a Polish immigrant mother who met and married in Chicago, Ethel Magafan, her identical twin sister Jenne and their elder sister Sophie grew up in Colorado to which their father relocated the family in 1919. They initially lived in Colorado Springs where he worked as a waiter at the Antlers Hotel before moving to Denver in 1930 to be head waiter at the Albany Hotel. Two years later during the Great Depression Ethel and Jenne experienced at sixteen the tragic loss of their father who had encouraged their artistic aspirations. He was proud when Ethel, a student at Morey Junior High School, won top prizes in student poster contests sponsored by the Denver Chamber of Commerce and the Denver Post. At East High School in Denver she and Jenne contributed their art talents to the school’s and by their senior year were co-art editors of the Angelus, the 1933 yearbook. At East they studied art with Helen Perry, herself a student of André Lhote in Paris and the Art Institute of Chicago. Her decision to abandon an arts career to teach high school students served as an important example to Ethel and Jenne, who early on had decided to become artists. In a city-wide Denver competition for high school art students Ethel won an eighteenweek art course in 1932-33 to study at the Kirkland School of Art which artist Vance Kirkland had recently established in the Mile High City. Perry encouraged the Magafan twins’ talent, exposing them to the work of Matisse, Picasso and Cézanne and introducing them to local artists and architects like Frank Mechau and Jacques Benedict whom she invited to speak in her high school art classes. She paid the modest tuition for Ethel and Jenne to study composition, color, mural designing and painting at Mechau’s School of Art in downtown Denver in 1933-34. In the summer of 1934 and for a time in 1936 they apprenticed with him at his studio in Redstone, Colorado. When they returned to Denver in 1934 with no family breadwinner to support them, their mother insisted that they have real jobs so they worked as fashion artists in a Denver department store. When Jenne won the Carter Memorial Art Scholarship ($90.00) two years later, she shared it with Ethel so that both of them could enroll in the Broadmoor Art Academy (now the Colorado Springs Fine Arts Center) where they studied with Mechau. When the scholarship money ran out after two months, he hired them as his assistants. Along with Edward (Eduardo) Chavez and Polly Duncan, they helped him with his federal government mural commissions. At the Fine Arts Center Ethel also studied with Boardman Robinson and Peppino Mangravite, who hired her and Jenne in 1939 to assist him in his New York studio with two murals commissioned for the post office in Atlantic City, New Jersey. Like their Denver high school art teacher, Robinson also stressed the need to draw from nature in order to "feel" the mountains, which later become the dominant subject matter of Ethel’s mature work after World War II. Mechau trained her and her sister in the complex process of mural painting while they studied at the Colorado Springs Fine Arts Center, teaching them the compositional techniques of the European Renaissance masters. This also involved library research for historical accuracy, small scale drawing, and Page 2 of 4 the hand-making of paints and other supplies. Ethel recalled that their teacher "was a lovely man but he was a hard worker. He drove us. There was no fooling around." Her apprenticeship with Mechau prepared her to win four national government competitions, beginning at age twenty-two, for large murals in U.S. post offices: Threshing – Auburn, Nebraska (1938), Cotton Pickers – Wynne, Arkansas (1940), Prairie Fire – Madill, Oklahoma (1940), and The Horse Corral – South Denver, Colorado (1942). In preparation for their commissions Ethel and her sister made trips around the country to pending mural locations, driving their beat-up station wagon, dressed in jeans and cowboy boots with art supplies and dogs in tow. She and Jenne combined their talents in the mural, Mountains in Snow, for the Department of Health and Human Services Building in Washington, DC (1942). A year later Ethel executed her own mural, Andrew Jackson at the Battle of New Orleans, January 8, 1814, for the Recorder of Deeds Building, also in Washington, DC. Her first mural commission, Indian Dance, done in 1937 under the Treasury Department Art Project for the Senate Chamber in the United States Capitol, has since disappeared. Ethel and her sister lived and worked in Colorado Springs until 1941 when their residence became determined by the wartime military postings of Jenne’s husband, Edward Chavez. They moved briefly to Los Angeles (1941-42) and then to Cheyenne, Wyoming, while he was stationed at Fort Warren, and then back to Los Angeles for two years in 1943. While in California, Ethel and Jenne executed a floral mural for the Sun Room of the Beverly Hills Hotel and also painted scenes of the ocean which they exhibited at the Raymond and Raymond Galleries in Beverly Hills. While in Los Angeles they met novelist Irving Stone, author of Lust for Life, who told them about Woodstock, as did artists Arnold Blanch and Doris Lee (both of whom previously taught at the Colorado Springs Fine Arts Center school. In summer of 1945 Ethel, her sister and brother-in-law drove their station wagon across the country to Woodstock which became their permanent home. A year later Ethel married artist and musician, Bruce Currie, whom she met in Woodstock. In 1948 with the help of the GI Bill they purchased an old barn there that also housed their individual studios located at opposite ends of the house. The spatial arrangement mirrors the advice she gave her daughter, Jenne, also an artist: "Make sure you end up with a man who respects your work…The worst thing for an artist is to be in competition with her husband." In 1951 Ethel won a Fulbright Scholarship to Greece where she and her husband spent 1951-52. In addition to extensively traveling, sketching and painting the local landscape, she reconnected with her late father’s family in the area of Messinia on the Peloponnese peninsula in southern Greece. At the same time, her sister Jenne accompanied Chavez on his Fulbright Scholarship to Italy where they spent a productive year painting and visiting museums. Shortly after returning home, Jenne’s career was cut tragically short when she died of a cerebral hemorrhage at age thirty-six. It deeply affected Ethel whose own work took on a somber quality for several years conveyed by a darkish palette, as seen in her tempera painting, Aftermath (circa 1952). In the 1940s Ethel and her sister successfully made the important transition from government patronage to careers as independent artists. Ethel became distinguished for her modernist landscapes. Even though Ethel became a permanent Woodstock resident after World War II, from her childhood in Colorado she retained her love of the Rocky Mountains, her "earliest source of my lifelong passion for mountain landscape." She and her husband began returning to Colorado for annual summer camping trips on which they later were joined by their daughter, Jenne. Ethel did many sketches and drawings of places she found which had special meaning for her. They enabled her to recall their vital qualities which she later painted in her Woodstock studio, conveying her feeling about places remembered. She also produced a number of watercolors and prints of the Colorado landscape that constituted a departure from the American Scene style of her earlier paintings. Her postwar creative output collectively belongs to the category of landscape abstractionists as described by author Sheldon Cheney, although to a greater or lesser degree her work references Colorado’s mountainous terrain. She introduced a palette of stronger pastels in her paintings such as two temperas, Evening Mountains from the 1950s and Springtime in the Mountains from the early 1960s. In 1968 she was elected an Academician by the National Academy of Design in New York. Two years later, based on results of her many summer trips to Colorado, the U.S. Department of the Interior invited her to make on-the-spot sketches of the western United States, helping to document the water resources development and conservation efforts by the Department of the Interior. Her sketches were exhibited at the National Gallery in Washington, DC, and then sent on a national tour by the Smithsonian Institution. Similarly, her previous work as a muralist earned her a final commission at age sixty-three for a 12 by 20 foot Civil War image, Grant in the Wilderness, installed in 1979 in the Chancellorsville Visitors Center at the Fredericksburg National Military Park in Virginia. In the 1970s, too, she taught as Artist-in-Residence at Syracuse University and at the University of Georgia in Athens. Her many awards include, among others, the Stacey Scholarship (1947); Tiffany Fellowship (1949); Fulbright Grant (1951-52, in Greece with her husband); Tiffany Fellowship (1949); Benjamin Altman Landscape Prize, National Academy of Design (1955); Medal of Honor, Audubon, Artists (1962); Henry Ward Granger Fund Purchase Award, National Academy of Design (1964); Childe Hassam Fund Purchase Award, American Academy of Arts and Letters (1970); Silver Medal, Audubon Artists (1983); Champion International Corporation Award, Silvermine Guild, New Canaan, Connecticut (1984); John Taylor Award, Woodstock Artists Association, Woodstock, New York (1985); Harrison Cady...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "Blowing Bubbles" *Signed by Soper in pencil lower right Year: 1924 (fourth state of four) Medium: Original Etching on cream laid paper Limited edition: 240 Printer: Likely printed by Eva Soper, London, UK Publisher: H C Dickens, London, UK Reference: "The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper" - Beetles No. 67, page 117, 141, 157 Framing: Recently framed in a Louis XV style frame with matting from Holland and Museum glass Framed size: 13.25" x 15.13" Sheet size: 7.25" x 9.63" Image size: 4.5" x 7" Condition: In very good condition Notes: Provenance: private collection - Boulder, CO. Biography: Eileen Soper was born in 1905 in the Municipal Borough of Enfield and moved to the house where she was to spend the rest of her life in Harmer Green, Welwyn in the Hertfordshire countryside in 1908. The house she later named "Wildings" was built by her father, the artist George Soper...

Rare Original limited edition lithograph, printed by Mourlot in Paris, France on vélin du Marais watermarked paper. this is not signed as issued. This is from a signed and numbered ...

Jacques La Grange, 'The Start of the Race, 1899', color woodcut, edition 500, 1934. Signed and numbered '21/500' in pencil. A fine impression, with fresh colors, on cream wove paper,...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "Spring Song" *Signed by Soper in pencil lower right Year: 1924 Medium: Original Etching on cream laid paper Limited edition: 178 Printer: Likely printed by Eva Soper, London, UK Publisher: H C Dickens, London, UK Reference: "The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper" - Beetles No. 83, page 119, 141, 157 Sheet size: 8.13" x 10.13" Image size: 6.63" x 9.63" Condition: Paper trimmed in the margins. A few faint areas of discoloration. It is otherwise a strong impression in very good condition Notes: Provenance: private collection - Boulder, CO. Biography: Eileen Soper was born in 1905 in the Municipal Borough of Enfield and moved to the house where she was to spend the rest of her life in Harmer Green, Welwyn in the Hertfordshire countryside in 1908. The house she later named "Wildings" was built by her father, the artist George Soper...

Rare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual sheets are not hand signed and numbered. Francois Gilot, (1921-) studied English Literature at Cambridge University, and then, encouraged by her father, studied international law, though she secretly also took art lessons at the same time. In 1943, during her first exhibition in Paris, Gilot (then 21) met Pablo Picasso (who was 61) for the first time. In 1946, Gilot started a 10-year relationship with the notorious womanizer and had two of his children,Claude and Paloma. As a result of her relationship with Picasso, Gilot "became both a witness and a participant in one of the last great periods of the modern art movement in Europe. Their circle included poets, philosophers, writers, and many of the legends of the art world, such as Braque, Chagall, Cocteau and Matisse. In 1953, Gilot left Picasso and the home they shared in Vallauris and moved back to Paris. "Lithographs are printed from stones and each stone is an echo of my artistic voice," said Gilot. "Many artists use their art as a personal catharsis. I have never done that. I am more intellectual. Each artistic process -- oils, lithographs, monotypes -- allows me a different freedom and suits a different mood." While Gilot did her first lithograph in 1950 at the Mourlot Atelier, the same studio used by Picasso, Henri Matisse, Marc Chagall, Jean Miro and Jean Dubuffet, it was in the 1970s that she really began to experiment with the process. "In the beginning I turned to lithography because I wanted to show off my technical skills. Now I am more interested in color," said Gilot. "I also thought that lithographs would make my works more accessible to young collectors." While her oils are priced up to $100,000, her lithographs begin at $2,000 and her monotypes range from $1,000 to $2,500. HONORS Officier de la Legion d'Honneur, Presidence de la Republique, France Chevalier de la Legion d'Honneur, Ministere de la Culture, France SELECTED MUSEUM COLLECTIONS Metropolitan Museum of Art, New York Musee d'Art Moderne, Paris Musee Picasso, Antibes, France National Acadamy of Design, New York Musee de Tel Aviv, Tel Aviv, Israel Museum of Modern Art, New York Bibliotheque Nationale, Paris (complete collection of original prints) SELECTED IMPORTANT EXHIBITION CATALOGUES 2012 Françoise Gilot, Paris - Vallauris, 1943 - 1953, The Gagosian Gallery, New York Essays: John Richardson, Françoise Gilot, Charles Stuckey and Michael Cory 2011 Françoise Gilot, at 90, Drawings 1941 - 2010, Kunstsammlungen Chemnitz, Germany Essays: Françoise Gilot and Louise Tolliver Deutschman (exhibition curator) 2006 Françoise Gilot, Portraits From a Life, The Elkon Gallery Inc., New York 2003 Françoise Gilot Painting...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "The Tragedy" *Signed by Soper in pencil lower right Year: 1922 Medium: Original Etching on cream laid paper Limited edition: 264 Printer: Likely printed by Eva Soper, London, UK Publisher: H C Dickens, London, UK Reference: "The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper" - Beetles No. 31, page 111, 141, 155 Sheet size: 9.13" x 5.5" Image size: 3.88" x 6" Condition: Remnants of previous mounting tape at right edges. In excellent condition Notes: Provenance: private collection - Boulder, CO. Biography: Eileen Soper was born in 1905 in the Municipal Borough of Enfield and moved to the house where she was to spend the rest of her life in Harmer Green, Welwyn in the Hertfordshire countryside in 1908. The house she later named "Wildings" was built by her father, the artist George Soper...

Eric Ravilious’s Dog II [2022] limited_edition Etching Edition number 33 Image size: H:21 cm x W:21 cm Complete Size of Unframed Work: H:40 cm x W:38 cm x D:0.5cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Limited edition print of a man on a train with his hat blowing away. Barratt uses Ravilious’ The Vale of the White Horse as inspiration for this witty etching. Buy Mychael Barratt printmaker works with Wychwood Art gallery online. Mychael Barratt was born in Toronto, Canada, however, considers himself to be a Londoner since arriving for what was supposed to be a two-week stay thirty years ago. He is a narrative artist whose work is steeped in imagery relating to art history, literature, theatre and everything else that overfills his bookshelves. He was an artist in residence for Shakespeare’s Globe Theatre...

"Celestine, Young Girl and Client," 1968 is an aquatint from Picasso's 347 Series. The image size is 3.5 x 5 inches and the framed size is 18.25 x 19.5 inches. Signed 'Picasso' lower...

Hand signed in pencil and numbered. A very small edition. Old Lower East Side of New York or East European Shtetl. Jewish Shtetl Hasidic Klezmer Musicians. humorous Yiddish Chassidic art. The New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. This original color lithograph print is done in the iconic style of the artist's oeuvre. Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker, class inequality, and social injustice was central in his work. After publishing the graphic novel Alley Oop in 1930, Gropper's illustration career extended well into the decade. However, he was never exempt from controversy, and his 1935 Vanity Fair cartoon; prompted anger from the Japanese government. As an involved labor organizer and Social Realist activist, Gropper continued to bring attention to his radical reputation with visits to the Soviet Union and Poland. However, his concern with European politics and U.S. social causes didn't slow down his artistic career, and by the late 1930s, he had produced significant murals for American cities like Washington D.C. His 1938 mural Construction of a Dam was commissioned for the Department of the Interior and represents the Social-Realism style that depicts experiences of the worker and everyday societal life. Measuring at a staggering 27ft by 87ft, the piece portrays muscular, robust American laborers scaling rocky hillsides, building infrastructure, and operating heavy machinery. The mural feels undeniably American with golden scenery, denim blues, and steely gray colors. Gropper fits perfectly into Social-Realism because the style exhibits an illustrative flair with strong lines and simple, bold hues. The inspiration for Construction of a Dam sprang from his 1937 travels to the poverty-stricken Dust Bowl area. The trip was sponsored by a Guggenheim Foundation Fellowship, and his drawings of the Grand Coulee and Boulder Dams...