Signed Original Lithographs, Ceramics, Etchings & Prints
Chagall and Picasso,
A Friendship that Wasn't Meant to Be
Did you know Picasso was questioned for
stealing the Mona Lisa?
Chagall + Sorlier: Printmaking's Dream Team
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Renowned worldwide as one of the greatest artists of the 20th century, Pablo Picasso pioneered the ceramics medium with his stunning Madoura ceramics. From his first introduction in 1946 in Vallauris during a pottery exhibition. Picasso met Suzanne and Georges Ramié who helped him get familiar with the medium and provided him a studio and a team to engage in this creative process. To the decades he spent in the medium afterwards, Picasso created an amazing and highly valued ceramic oeuvre that stretched from owls to women to abstract faces to fish.
Displaying a range of innovative techniques and artistic styles, Picasso ceramics were ingeniously created with forms though which he could express himself. Fragile and captivating, these three-dimensional forms give life to a story that his paper works simply cannot. A constant creator, Picasso ceramics exemplify his artistic genius and love of experimentation in the sculptural medium.
Perhaps the world renowned artist of the 20th century, Pablo Picasso is considered the pioneer of Cubism and one of the founding fathers of Modern Art. We feature his beautiful drawings, exquisite Picasso ceramics, and a myriad of original lithographs and linoleum cuts.
Pictured here, with simple yet expressive strokes, Picasso depicts a vibrant red-orange flower blossoming forth from an open book. Picasso relays his ability to capture more with less, as he focuses solely on his subject, leaving the background blank to further highlight the central figures of the flower and book. We cannot decipher the text but get a sense of the identity of the book through Picasso's swift black strokes. Rooted in the book, the beautiful flower grows upwards, flourishing from the knowledge that it finds within the text. Though this work is open to interpretation, we can perhaps infer that Picasso wished to highlight the importance of education and knowledge to intellectual and artistic growth.
Perfectly encapsulating the homely essence of Chagall's works, Le Verger de Philetas (Philetas Orchard) allows us to escape the mundane and enter the fantastical. Deeply saturated in a brilliant blue-green the work is filled with Chagall's iconic imagery. From Daphnis and Chloe embracing in the lower left to the angels floating around the canvas to the softly mottled flower bouquets, Chagall successfully conveys an overall feel of wisdom and grandeur in an orchard. Philetas, the man with the cane, is a wise old cowherd who explains to Daphnis and Chloe what love is. Guiding them to discover their past and embark on their future, this scene emotes hope and harmony, a testament to the masterful skills of Chagall.
One of the most influential, experimental, and celebrated artists of the 20th century, Pablo Picasso contributed immensely to the innovation and importance of the linocut medium as an artistic form. One of Picasso’s most sought after mediums, the linoleum cut (or linocut) best exemplifies Picasso's technical dexterity, creativity and talent as a printmaker. Printer Hidalgo Arnera first introduced Picasso to the linocut medium in 1948, when Picasso was living in the small town of Vallauris in the south of France. Picasso became fascinated with linocuts and, in his trademark fashion, he pushed the boundaries of the linocut medium, creating astounding Picasso linocuts that remain amongst his most renowned and valuable prints to date.
While Picasso’s first linocuts were used as posters to advertise the bullfights and ceramic exhibitions in Vallauris, he quickly transformed the linocut medium into a unique form of expression unlike anything the world had every seen. By placing increased emphasis on color and form, Picasso created striking linocuts addressing a range of themes including bullfights, mythological creatures, jesters, and portraits. Desirable for their bold, graphic compositions, expressive treatment of color, and superb handling of line, Picasso’s linocuts expanded and redefined the world of graphic arts.
A work by Marc Chagall is known for its masterful color and beautiful imagery, which is what makes his lithographs so internationally respected and sought after. They convey his life, his search for self-identity, his passion for theater and history, his love of romance, and above all his fantastical imagination. The lithographic medium was where another world existed for Chagall, one where there were no limits to what was portrayed, and no limits to what he could do.
Introduced to the medium initially in Berlin in 1923, it wouldn't be until the 1950s and 60s when Chagall had settled permanently in France and met Fernand Mourlot, Georges Sagourin and Charles Sorlier that he choose to really embrace the medium. This is when he truly developed his now infamous color palette as the lithograph allowed him to experiment in ways that a canvas could not. This is seen in the creation of the series Daphnis and Chloe (1960) and the monumental works Carmen (1966), Magic Flute (1967), and Romeo and Juliet (1964). They are beautifully intricate, multifaceted works that tell a story, leaving the viewer forever searching for more within each work. A mastery that attests to the unmatched scope and quality of his skills, which is why Chagall’s lithographs comprise the most stunning examples in his artistic oeuvre.
A dazzling display of Miró's immense talent as a print maker, Le Chien Bleu (The Blue Dog) beautifully illustrates the artists creative and free artistic expression. Lyrical lines and playful characters dance across the composition, exhibiting Miró's wonderfully entrancing surrealist imagery. The magnificent background of earthy ochre and yellow allows the linear and solid figures to stand out in strong contrast, creating a delightful textural and tactile experience.
This work is hand-signed by Joan Miró (Barcelona, 1893 - Palma, 1983) in pencil in the lower right margin. Numbered 97/300 in pencil in the lower left margin. This work is in excellent condition, the colors are bold and bright.
One of the most prolific creators of lithographs and etchings, Miró used a highly textured application of color, a technique called carborundum aquatint. This technique, which enabled him to create detail in a range of colors with variations of darkness and rich texture, made him a master in printmaking. Which in turn has made him one of the most important artists of the 20th century and the precursor for much of modern art.
Creating well over a thousand such works, Miró's oeuvre is owed to this technique as it allowed him to explore his creative universe in a new way. In works such as Le Grand Ordonnateur (1969), Le Grand Carnassier (1969), Le Vieil Irlandais (1969), and La Captive (1969) there is a captivating intensity that lends itself to the tonal contrasts and beautiful texture, which makes them appear otherworldly. All of his works are truly enchanting, but it is in his aquatints and carborundums where his artistic brilliance and craftsmanship shines, and where his ultimate belief still lives, that art should be accessible to everyone.
Serving as the forefather of the Dutch printmaking Renaissance, Rembrandt van Rijn is one of our personal favorites. More widely known for his stunning paintings that are featured in museums all over the world, Rembrandt etchings and engravings are highly underrated. They are a true testament to Rembrandt's range as an artist and printmaker, having been able to translate his mastery of light and playfulness with shadow in all of his prints featured here in our collection.
The Hundred Guilder Print remains the most famous and desirable Rembrandt etching to date. Noted Rembrandt scholar Christopher White describes this astounding work as "the apotheosis of Rembrandt's activity in etching in the 1640's, and according to popular opinion of his whole career" (White, Rembrandt as Etcher, 57). White further traces the origin of the title to a print seller named Mariette, who sold an impression of this print to Rembrandt himself for 100 guilders. The National Gallery of Art in Washington D.C. occasionally displays this masterpiece.
This extraordinary woodcut is instilled with a remarkable detail of expression, as Dürer's intricate lines convey the distinct countenances of his subjects.
While the sheer quality of detail represents Dürer's unequaled talent, it is most remarkably displayed by the drapery of the bed curtains and the oscillating flag that Christ carries. Mary appears at peace upon viewing her resurrected son, as she bows gracefully in prayer. Christ reaches towards her, an almost humbled expression upon his face. We feel privileged to witness this private reunion between mother and son, exemplifying Dürer's great skill at conveying human emotion. For each line seen within the print, Dürer removed the wood surrounding the area. This is particularly arresting when examining the rays of light that surround the head of Christ. Created in 1612, this original woodcut is monogrammed in the woodblock 'AD' in the lower left. This work is from the Italian edition of 1612 with Italian text on verso.
Heralding the Pop Art movement during the latter half of the 20th century, Andy Warhol is best known for his re-appropriation of classic commercial advertisements and elevating them into the realm of fine art.
Depicting highly successful real estate mogul Sachiko Goodman, Andy Warhol chooses a palette as striking as his subject in his screen print, "Sachiko". Candy orange and lavender are set off against a bright aquamarine. As is the case with many of his famous portraits of celebrities in the 1970’s and 80’s, the artist’s point of departure would have been one of his photographs of the subject. Preferring to portray an idealized version of his subject, Warhol review the silkscreen created after a chosen photograph and remove any blemishes. Sachiko’s flawless skin and bright smile owe some of their brilliance to this step. The artist published several volumes of his photographs during his lifetime, providing insight into his working methods and relationship with the camera. As the only printer’s proof aside from an edition of 7, this extremely rare print is virtually unique, according to Feldman and Schellman. Combined with Sachiko’s graceful beauty, this work’s rarity makes it incredibly desirable.