Modern Nude Prints

Hand signed. Edition of 156 prints.

Etching monogrammed in the plate. Illustration for a Robert Ganzo's poem "Lespugue" Editions Marcel Sautier, Paris, 1966. Conditions: Good Conditions Dimensions: 25,5 x 16,5 cm. Vellum paper Référence Czwiklitzer n°55. 1890 Zadkine was born on the 14th of July in Vitebsk, a city in Belarussia, on the Dvina. His father Ephime teaches classical languages at the local seminar. His mother Sophie Lester descended from Scots, who emigrated at the time of Peter the Great. 1905 His parents send him to Sunderland, in the North of England, where his mother’s family lives. He studies English and attends modelling courses at the local Art School. 1905-1909 He travels to London without his parents permission where he attends courses at the Regent Street Polytechnicum. In order to earn his living, he plans to work with a stonecutter. He visits the British Museum and studies classical sculpture there. Returns to Smolensk where he produces his first sculpture. Goes back to London. 1909-1910 Zadkine settles in Paris and studies in the ecole Nationale des Beaux-Arts. Finds a workshop in a building called La Ruche, in the XVe arrondissement. 1911 Zadkine presents statues and drawings at the annual Salon d’Automne and at the Salon des Indépendants. It is the ‘cubists’ who draw his attention in Paris. Is essentially close to Russian students who get together in a cafe of the ‘Quartier Latin’. Has himself called Joe Zadkine until 1914. 1912-1913 Finds a room in the neighbourhood of Montparnasse, in the rue de Vaugirard. Studies Roman sculpture. Zadkine is immortalized by his neighbour, photographer Marc Vaux, in his new workshop. Meets Brancusi, Guillaume Apollinaire, Jacques Lipchitz, Pablo Picasso, Antoine Bourdelle, Leopold Survage and Robert Delaunay. Henri Matisse visits Zadkine’s workshop. 1914-1915 Exhibition at the Freie Sezession in Berlin, at De Onafhankelijken in Amsterdam (Holland) and at the Allied Artists Association in London. Thanks to collector Paul Rodocanachi, he can settle in a workshop in the rue Rousselet. Becomes friends with Modigliani. 1916-1917 Works as a stretcher-bearer on the front. Produces drawings and watercolours dealing with war. Zadkine is discharged in 1917. He says he is ‘bodily and spiritually’ ruined by the war. After his stay in the Epernay hospital he recovers in Bruniquel, in the southwest of France. 1918-1919 Makes a series of 20 war etchings...

Leonor Fini - Orgy - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Pablo Picasso's ‘Groupe de Trois Femmes’ (1922–1923) emerges from his Neoclassical period, a watershed moment in his career when he pivoted from Cubism toward classical forms and myt...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

This lithograph was created in Nice and features the dancer Henriette Darricarrère, who posed for Matisse over a period of seven years. As one of his most important models, she inspi...

Leonor Fini - Rejection - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsign...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Le Corbusier (1887-1965) Three Nudes, 1938 Original lithograph Signature printed in the plate Dated in the plate On light vellum 21 x 27 cm (c. 8 x 11 inch) Very good condition, pa...

Jean-Baptiste Valadie Sensuality, 1976 Original etching Handsigned in pencil Numbered / 199 On vellum 37 x 52 cm (c. 15 x 21 inch) Excellent condition

Henri Matisse Le repos du modèle 1922 Lithograph on Chine appliqué on Japon paper, Edition of 575 Paper size: not listed Image size: 22.2 x 30.4 cms (8 3/4 x 12 ins) HM15512

Deux Femmes au Miroir by Pablo Picasso is a fascinating exploration of reflection, identity, and perception. The composition presents two women interacting with a mirror, their forms...

Dufza - Paris Notre Dame - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm Unumbered as issued

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Leonor Fini - Saturday Night Dress - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, P...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Leonor Fini - Toads - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

A superb impression of this offset lithograph with vibrant pochoir color. Signed and numbered in ink, from an edition of 185.

Beautiful modernist figurative silkscreen on paper of women dancing by Phil Paradise, (American, 1905-1997), c.1960. Edition No. 56. Signed lower right ...

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograph...

Signed "Earl W Stroh" at lower right. This is an Artist Proof. The price includes a period wormy chestnut frame with gold leaf. The outer frame...

Henri Matisse Torse à l’aiguière 1927 Lithograph on Chine paper, Edition of 50 Paper size: 49.5 x 34.5 cms (19 1/2 x 13 1/2 ins) Image size: 36.4 x 26 cms (14 1/4 x 10 1/4 ins) HM15...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Henri Matisse La Persane 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 63 x 44.5 cms (24 3/4 x 17 1/2 ins) Image size: 44.8 x 29 cms (1...

Leonor Fini - Sadness - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned...

Leonor Fini - Disagreement - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Uns...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Dufza - Paris - Quai des Grands Augustins - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm

Léonard Foujita (French/Japanese, 1886–1968) The Three Graces Original Lithograph 76 x 54 cm Signed in the plate Reference: Sylvie Buisson réf. #60.28 (vol. 1, p.531) Léonard Ts...

Leonor Fini - Fearless - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinckve...

Leonor Fini - Nimphs - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

The Window 1978 Etching 7/75 21.5 x 15.5 cm 43cm x 31cm including frame and conservation mount Provenance: Wills Lane Gallery, St Ives. A rare and intimate etching by Rose Hilton...

Henri Matisse (1869-1954) (after) Blue Nude IV (small model) Lithograph in blue Signed in the plate, Numbered HC, On Arches vellum, 50 x 32.5 cm (19.6 x 12.5 in) INFORMATION: Publi...

Nude Woman Crowning Herself with Flowers (Femme nue se couronnant de fleurs) from the Vollard Suite (Suite Vollard) - published by A. Vollard, Paris - printed by Lacourière, Paris - ...

Fine art gicle print on canvas of a painting by Marcello Cassinari Vettor, framed measuring 46x36 cm

An original linocut print by American artist Irene Zevon. The reclining nude is one of Zevon's most coveted subject matters. This 1959 print is one of a series of ten prints.

Signed lower right, 'Erni' within a dove for Hans Erni (Swiss, 1909-2015) and created circa 1980. An unnumbered presentation impression outside the standard edition of 100. Inscribed...

Jean-Baptiste VALADIE Treasure : Harlequine Original lithograph Handsigned in pencil Limited /199 copies On vellum 71 x 55 cm (c. 28 x 22 in) Excellent condition

Jean-Gabriel DOMERGUE Sun Bath in the Garden, 1956 Original lithograph (Mourlot workshop) Printed signature in the plate On Japan paper 40 x 31 cm (c. 16 x 12") INFORMATION : This ...

Wonderful figurative lithograph of a group of four nude figures in sable brown and gray palette by Hans Erni (Swiss, 1909-2015) circa 1970s. Signed in pencil by artist lower right co...

This work is signed, titled, and dated, in pencil. Grippe was a master printer, highly creative printmaker, and sculptor.

Etching and aquatint on paper. Hand signed in the lower right. Matteo, in very good condition.

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

Jean-Baptiste Valadie Love me Slow, 1976 Original etching Handsigned in pencil Numbered / 199 On vellum 37 x 52 cm (c. 15 x 21 inch) Excellent condition

Alméry Lobel-Riche The bath Original engraving Handsigned in pencil Numbered /12 On parchment 31 x 22.5 cm (c. 12.2 x 8.9 inches) Excellent condition

A scarce impression by Dehn, the spirit of sedultive culture personified. Lithograph on white wove paper with deckle edges, 13 1/2 x 17 1/8 inches (343 x 435 mm), full margins. Sign...

This artwork titled "La Negra (The Black Woman)" from the suite "The Mujeres File" 1969 is an original colors lithograph on B.F.K. Rives paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and numbered 150/150 in pencil by the artist. The image size is 26.85 x 21.25 inches, sheet size is 29.5 x 22.15 inches, framed size is 42 x 35 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #109 page 107. Custom framed in a wooden silver frame, with silver spacer and fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo...

Etching and aquatint on paper. Signed in the plate, not numbered. This print deepens the artist’s exploration of the connection between humanity and the earth. Matted, in Very goo...

Jean-Baptiste VALADIE Woman Eating Cherries Original lithograph Handsigned in pencil Limited /250 copies On vellum 35 x 45 cm (c. 14 x 18 in) Excellent condition

Jean-Baptiste Valadie The End of the Night, 1976 Original etching Handsigned in pencil Numbered / 199 On vellum 37 x 52 cm (c. 15 x 21 inch) Excellent condition

Jean-Baptiste Valadie Come Closer, 1976 Original etching Handsigned in pencil Numbered / 199 On vellum 37 x 52 cm (c. 15 x 21 inch) Excellent condition

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of joy and come-hither coquettishness. T...

Original lithograph. Allen Jones "High Society". From first owner. Numbered and signed. Dimensions including original frame.

Pablo Picasso (after) Femme au grand nez, en raccourci, sur un lit (Woman with big nose) Etching on BFK Rives paper Posthumously published in 1978, printed before 1975 Plate 139 from...

This artwork titled "Torso de Mujer (Torso de Femmee)" from the suite "The Mujeres File" 1969 is an original colors lithograph on Wove paper by renown Mexican artist Rufino Tamayo, 1899-1991. It is hand signed and inscribed H.C. (Hors Commerce) in pencil by the artist. The image size is 26.85 x 21 inches, framed size is 40.75 x 33 inches. Published by Touchtone Publisher, New York, printed by Ateliers Desjobert, Paris. Referenced and pictured in the artist's catalogue raisonne by Pereda, plate #108 page 107. Custom framed in a wooden gold frame, with gold bevel and light beige fabric matting. It is in excellent condition. About the artist: A native of Oaxaca in Southern Mexico, Rufino Tamayo's father was a shoemaker, and his mother a seamstress. Some accounts state that he was descended from Zapotec Indians, but he was actually 'mestizo' - of mixed indigenous/European ancestry. (Santa Barbara Museum of Art). He began painting at age 11. Orphaned at the age of 12, Tamayo moved to Mexico City, where he was raised by his maternal aunt who owned a wholesale fruit business. In 1917, he entered the San Carlos Academy of Fine Arts, but left soon after to pursue independent study. Four years later, Tamayo was appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics...

Jean Baptiste VALADIE Nude Combing Her Hair Original Etching Signed in pencil Numbered on 225 copies On vellum 38 x 28 cm (c. 14.9 x 11 inches) Excellent condition

Leonor Fini - Friends - Original Handsigned Lithograph Les Elus de la Nuit 1986 Conditions: excellent Handsigned and Numbered Edition: 230 Dimensions: 38 x 28 cm Editions: Trinckvel...

Henri Matisse Odalisque à la culotte de satin rouge 1925 Lithograph on Chine paper, Edition of 50 Paper size: 28.5 x 36.5 cms (11 1/4 x 14 3/8 ins) Image size: 19 x 27 cms (7 1/2 x 1...

Jacques Villon - Sleeping Nude - Original Etching Circa 1950 Signed in pencil Edition of 45. Dimensions : 32.7 x 25 cm