Modern Art

Drypoint etching, 1920, on laid paper From the edition of 50 Signed stamped Picasso, lower right and numbered, lower left plate: 6 by 3 7/8 in (151 by 99mm) sheet: 12 5/8 by 9 7/...

Near life size mid century white cheetah sculpture or figure crafted in terra cotta, hand decorated and glazed.

Striking image of a hawksbill turtle printed on paper in a stone lithograph technique, matted and presented under glass in a mahogany frame.

Paysage et animaux by Grégoire Michonze (1902-1982) Oil on canvas 27 x 35 cm (10 ⁵/₈ x 13 ³/₄ inches) Signed lower right, Michonze 4 Provenance: Private collection, Israel

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Le Peintre devant "Le Soleil Rouge" by Marc ...

The Untitled Blue Plate, (IKB 54), was executed in 1957 at a pivotal moment in Yves Klein’s career, the same year in which he perfected the production of the colour-matter that he wo...

Hand signed by artist "All you need". Figurative, Human figure, Realism, oil on canvas, feminist

Playboy Magazine ran this joke cartoon illustration in color on page 43 for the October 1960 edition. Signed lower right. The work is executed on a heavy Whatman Illustration board....

Norman Parkinson Jerry Hall , 1976 C print 60 x 40 inches each Estate stamped and numbered edition of 21 on verso American model Jerry Hall wearing a swimsuit by Martil and lipstick...

PABLO PICASSO (1881-1973) Hibou (A. R. 253) Terre de faïence pitcher, painted in colors and glazed, 1954, from the edition of 500, inscribed 'Edition Picasso' and 'Madoura', with ...

Hand signed by artist "Alicia sitting". Figurative, Human figure, Realism, oil on canvas, feminist

Hand signed by artist "The Party (Study)". Figurative, Human figure, Realism, oil on panel

Hand signed by artist Figurative, Human figure, Realism, Drawing, Collage, paper, pencil

Skiing in Stowe, Vermont C print 30 x 30 inches Two women in knitwear, leaning on ski sticks, while standing in the Stowe Mountain ski resort in Stowe, Vermont, 1962. Behind the two...

Original signed exhibition poster for David Hockney's "Dessins et Gravures" Show at Galerie Claude Bernard, Paris 1975. The work features a lounging mustachioed man with a striped bl...

Modern figurative silkscreen and lithograph by renowned artist Alex Katz. The work features a portrait of Ada, Katz's wife and muse, turned to face the left. The work is part of a se...

Artist: Marc Chagall Title: Homage to Marc Chagall Portfolio: XXe Siecle Medium: Lithograph Year: 1969 Edition: Unnumbered Framed Size: 20 1/2" x 17 1/4" Sheet Size: 12" x 9 1/2" Im...

DAVID DUNLOP is a modern-day old master whose luminous paintings draw from both Renaissance techniques and contemporary science. His paintings have been shown internationally and a...

DAVID DUNLOP is a modern-day old master whose luminous paintings draw from both Renaissance techniques and contemporary science. His paintings have been shown internationally and a...

DAVID DUNLOP is a modern-day old master whose luminous paintings draw from both Renaissance techniques and contemporary science. His paintings have been shown internationally and a...

This captivating piece by renowned Lithuanian artist Algis Griskevicius showcases his signature mastery of light, capturing a dreamlike state between day and night. Each painting app...

Jean-Pierre Cassigneul b.1935 French L'Hortensia (The Hortensia) Signed “Cassigneul” (lower right) Oil on canvas Jean Pierre Cassigneul’s L'Hortensia captures an elegant woman se...

DAVID DUNLOP is a modern-day old master whose luminous paintings draw from both Renaissance techniques and contemporary science. His paintings have been shown internationally and a...

Eden-Roc Pool 1976 C-Print Estate signature stamped and hand numbered edition of 150 with certificate of authenticity from the Slim Aarons estate CAPTION: Guests by the pool at the ...

Slim Aarons The High Life 1977. (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity August 1977: Actor George Hamilton (in blue) ta...

Pochoir in colors on Arches paper with the center fold (as issued) from the Edition of 250, published by Tériade, Paris (there was also an unfolded portfolio Edition of 100). Size ...

Kees van Dongen 1877-1968 Dutch-French Madame Flore Lesieur Signed "van Dongen" (upper left) Oil on canvas "You have to want to touch a painting, for it to be a pleasure for all ...

Marc Chagall 1887-1985 Russian Couple in the Moonlight Signed "Marc Chagall" (lower right) Oil, tempera and colored inks on canvas Marc Chagall's Couple in the Moonlight is a stu...

Marc Chagall 1887-1985 Russian La joie du village (The joy of the village) Signed “Marc Chagall” (lower right) Gouache, pastel, pen and ink on laid paper This stunning work, enti...

Marc Chagall 1887-1985 Russian Couple Devant le Buisson (Couple in front of the bush) Signed "Marc Chagall" (lower right) Gouache, colored inks, pastel, tempera and colored pencil...

Marc Chagall 1887-1985 I Russian Nu au double-profil (Nude in double-profile) Signature stamp of the estate "Marc Chagall" (lower left) Gouache, tempera, red chalk and felt pen on ...

"Standing Nude" is a figurative Modern charcoal on paper drawing by Henri Matisse in c. 1904-07. The artwork is 13 1/2 x 9 inches and is 19 3/8 x 14 1/2 x 1 3/4 inches with the frame...

Marc Chagall 1887-1985 Russian Gouache préparatoire pour Sirène au poète Preparatory gouache for Siren to the poet Signature stamp of the estate "Marc Chagall" (lower center) Goua...

Artist: Bertram George Buchanan (English, 1873-1962) Titles: "The Seven Sisters", "Rye from the Hills", and "Pett Level" *Each work is signed by Buchanan in pencil lower right Circa ...

Faye Dunaway at the Beverly Hills Hotel, 1977 (printed later) C-print 60 x 60 inches Estate stamped edition of 50 with certificate of authenticity American actress Faye Dunaway take...

Artist: Percy John Delf Smith (English, 1882-1948) Title: "Scythers Resting" *Signed by Delf Smith in pencil lower right. It is also signed in the plate (printed signature) lower lef...

Tamara De Lempicka 1898-1980 Polish Le bouquet de lilas (Lilac Bouquet) Signed "Lempicka" (lower right) Oil on canvas This exceptional floral still life by Art Deco icon Tamara d...

Artist: Rudolph Stanley-Brown (American, 1889-1944) Title: "The Tombs of the Scaligers (Verona, Italy)" *Signed by Stanley-Brown in pencil lower right Year: 1927 Medium: Original Drypoint Etching on watermarked laid paper Limited edition: 11/30 Printer: likely the artist Stanley-Brown himself, Cleveland, OH Publisher: the artist Stanley-Brown himself, Cleveland, OH Reference: "The Bulletin of the Cleveland Museum of Art", Vol. 14, No. 5 - CMoA page 91 Sheet size: 14.75" x 10.38" Image size: 12" x 8" Condition: Heavy toning to sheet and a light mat stain in margins. It is otherwise a strong impression in fair condition Extremely rare Notes: Provenance: private collection - Columbus, OH. Numbered by Stanley-Brown in pencil lower left. Printed in one color from one copper plate: black. Large interesting unidentified watermark in center of sheet. Retains its original titled label believed inscribed by the hand of the artist Stanley-Brown himself. Biography: Rudolph Stanley-Brown was born on April 9, 1889 at Lawnfield, the Garfield farm in Mentor, Ohio. His mother Mollie was the daughter of the 20th United States President...

PABLO PICASSO (1881-1973) Plongeurs (A. R. 378) Terre de faïence plaque, 1956, from the edition of 500, partially glazed and painted, with the Madoura and Empreinte Originale de P...

PABLO PICASSO (1881-1973) Hibou brillant (A. R. 285) Terre de faïence dish, 1955, from the edition of 450, glazed and painted, with the Edition Picasso and Madoura stamps.

Agustin Cardenas Tortoise,1983-1985 Bronze Ed. 4 of 6 8 x 17 x 8 in Provenance: Durban Segnini Gallery. Private Collection, Miami. COA by Durban Segnini Gallery

Sam Francis 1923-1994 American Untitled Signed and dated "Sam Francis 1965" (en verso) Oil on canvas This striking painting hails from the renowned Edge Paintings series by impor...

Roberto Matta Hom'mère - Chaosmos, 1973 Etching and aquatint 26 x 20 in Perfect condition Frame included Signed and numbered by the artist

Harding Black San Antonio Ceramicist (1912 - 2004) "Mid Century Planter" 1959 16 inches Tall 18 inches across. Weight almost 50 pounds. You are more than welcome to pick this up in person at my Fredericksburg, Texas Gallery. Biography: Harding Black San Antonio (1912 - 2004) Harding Black was born on a farm in Nueces County between Ingleside and Aransas Pass and moved with his family to San Antonio in 1916. There he graduated from Brackenridge High School and attended San Antonio Junior College (1929-30). In 1931 Black joined an archaeological expedition to the Big Bend area sponsored by the Witte Memorial Museum. Initially a painter, he was taught by Rudolph Staffel in 1933 to make wheel- thrown pottery and in the same year began to teach children's ceramic classes at the Witte. Between 1937 and 1939, Black directed ceramic installation in a San Antonio reconstruction project sponsored by the National Youth Administration and the Works Progress Administration art program. In 1955 he retired from teaching and devoted his time to ceramics. Black became a well-known ceramist from his research, innovations, and writings in the field. Exhibitions: San Antonio Local Artists Annual Exhibition (1939-42, 1945, 1947); Texas General Exhibition (1940 award, 1942, 1948 honorable mention); National Ceramic Annual Exhibition, Syracuse Museum of Art (1947-54); River Art Group, San Antonio (1948-49); National Collection of Fine Arts, Washington D.C. (1951, 1956); Dallas Museum of Fine Arts (1952 one-man); Martin Museum of Art, Baylor University (1991 one-man); San Antonio Museum of Art (1995 retrospective); National Museum of Art, Washington, D.C. (1995); University of Texas at Dallas, Irving (1998 retrospective). Collections: Dallas Museum of Art; Museum of Fine Arts, Houston; San Angelo Museum of Fine Arts; San Antonio Museum of Art; Martin Museum of Art, Baylor University, Waco; National Museum of American Art, Washington D.C.; New Orleans Museum of Art; Everson Museum of Art, Syracuse, New York; Alfred University (New York). Harding Black resided in San Antonio Texas where he worked as a potter for over 60 years and far as anyone knows he was completely self-taught. I find it amazing that anyone could ever accomplish what he did with no formal training in either ceramics or chemistry. It was a long and prolific journey from the early hand-built earthenware pottery to become recognized as a master of glazes. While I feel that his forms often could be better this is more than compensated for by the spectacular glazes he developed. Constant experimentation and his acquired knowledge of chemistry were the foundations for the wonderful glazes that adorn his pottery. The following quote is from an interview with Rudolf Staffel His copper reds are unbelievably beautiful. Harding was a master of glazes and one of the most generous human beings in the ceramic field that I've known. He had literally a room full of beautifully organized test tiles of all his glazes, and he would just throw the room open to anybody who wanted to rummage through his tiles. All the recipes were there, and he shared them with anyone who was interested. It was wonderful to go and visit him. Although accurate records of all test firings were kept for reference it I have been told that it would be difficult to reproduce many of these glazes because of the kiln he built and clays he used. This may not be the case because in a recent phone conversation (4/11/2007) with Peter Pinnell he told me that some of his students had success replicating some glazes using Harding's formulas by concentrating on the bowl and vessel forms Harding remained true to the historical traditions of pottery making. The magnificent Harding Black journey began in 1932. At that time, he joined the Witte Museum Archaeological Society which provided him with access to their collections of Native American pottery. Harding became fascinated by these polychromed vessels and he began attempting to create hand-built pots. He had very little or no success but a lifelong of working in clay had begun. It was about this time that he met up with Rudolf Staffel and it was from him that Harding learned wheel throwing and developed ideas of how to operate a studio. Harding was given access to working space at the Witte where he built a wheel and in 1933, he was given a position as ceramic instructor. In this position it was his responsibility to establish a ceramics department. The first kiln Harding built was using plans that were obtained from Newcomb College. He scrounged parts from a junkyard which were used in its construction. This project was not totally successful because of problems reaching required temperatures. As usual this did not deter Harding. He seemed to have a wonderful ability to learn from failure and move on. In the early 1940's Harding began working with formulas for copper red glazes prepared by Arthur Baggs and Edgar Littlefield. This work only added to his interest in Oriental pottery and fostered a desire to rework many old glazes. Being greatly influenced by A Potters Book published in 1940 by Bernard Leach Harding was now on his way seeking to incorporate form, function and surface treatment into a single entity where the whole is greater than the sum of the parts. In the 1950's Harding left the Witte and built his own studio where he spent the rest of his life creating his wonderful art. The body of his work is a living tribute to the Harding Black lifelong love of ceramics. Along with being a researcher he was also a teacher always willing to share his knowledge with others. He spent his life producing pots and occasionally taking time off to do a bit if fishing. According to Harding Black - Harding Black 11/14/90 "I am one of the lucky ones. When I get up in the morning I can hardly wait to get to work." 1912 Born April 15 near Aransas Pass, Texas 1916 Family moved to San Antonio 1929 Graduated from Breckenridge High School 1929-30 Attended San Antonio Junior College 1931 Joined Archaeological Society of the Witte Museum, San Antonio, and participated in excavations of ancient Basket maker Indian mounds and caves in the Big Bend area of Texas 1933 Taught by Rudolf Staffel to make wheel-thrown pottery. Set tip studio...

Georgina Klitgaard Desert Signed lower right Oil on canvas 18 x 30 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign artists to members...

Georgina Klitgaard Bearsville, New York Signed lower right Oil on canvas 26 1/4 x 32 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign ...

Sister Mary Corita Kent (American, 1918-1986) He Repeated the Letters of the Alphabet... Color Screenprint 22.5 x 38.75 inches Signed Lower Right Sister Mary Corita Kent, once the n...

Alongside, 1941 Tod Lindenmuth (American, 1885-1976) Color Woodblock Print 9 x 7 inches 19.75 x 14.5 inches with frame Signed Lower Right Titled and Dated Lower Left A founder of the Provincetown Art Association and one of the original Provincetown Printers, Tod Lindenmuth was a semi-abstract painter and graphic artist who did much to promote modernist styles. Although he was much influenced by Abstract Expressionism, his subject matter was realistic enough to be recognizable. He did linoleum cuts and was one of the first to work with that medium, and towards the end of his life, he experimented with collage. In the 1930s, he had commissions for the Public Works of Art Project and the Works Progress Administration. Lindenmuth was born in Allentown, Pennsylvania. He studied with Robert Henri at the New York School of Art in Manhattan, and in Provincetown with E. Ambrose Webster and George Elmer Browne. He first exhibited in Provincetown in 1915, and between 1917 and 1928 served on the jury for the Provincetown Art Association's 'First Modernistic Exhibition". He exhibited regularly with the Society of Independent Artists in New York. He married artist and illustrator Elizabeth Boardman Warren...

Prime Minister Morihiro Hosokawa b. 1938 Japanese Pair of Dragons in Clouds Signed, lower left and right Ink on paper, framed in Jindai cedar Cra...

PABLO PICASSO (1881-1973) Visage de femme (A. R. 220) Terre de faïence dish, 1953, from the edition of 400, inscribed 'Edition Picasso' and 'Madoura', glazed and painted, with the ...

Radiant Acrylic on Arches paper 31 1/2 x 31 1/2 in 80 x 80 cm Award winning artist Peter Monaghan was born in Ireland in 1955 and studied at the National College of Art and Design i...

Pastel Floret Mixed Media 100 x 100 cm 39 3/8 x 39 3/8 in Award winning artist Peter Monaghan was born in Ireland in 1955 and studied at the National College of Art and Design in th...

PABLO PICASSO (1881-1973) Femme (A. R. 296) Terre de faïence pitcher, 1955, from the edition of 100, partially glazed and painted, with the Madoura and d'Après Picasso stamps.

Artist: Henri Matisse (after) Title: The Sheaf Portfolio: The Last Works of Henri Matisse Medium: Lithograph Year: 1958 Edition: 2000 Frame Size: 24 1/4" x 21 1/4" Sheet Size: 14" x ...

Oliver Messel 1904 - 1978 Portrait of a Young Man Oil on canvas, signed and dated 'Oliver Messel 1930' (on the stretcher) Image size: 30 x 25 inches (76.2 x 63.4 cm) Original frame Oliver Messel was born to Leonard and Maud Messel, née Sambourne, on the 13 January 1904 and was the youngest of three children. The family moved to Nymans, the Messel family home in Sussex, from nearby Balcombe in 1915. The house remained in the family until 1953 when it was bequeathed to the National Trust, following a fire in 1947 which destroyed a large portion of the house. The Messels originated from a line of German Jewish bankers on Leonard’s side, however, both family lines boast a number of artistic influences, including Maud’s father. Maud was brought up at 18 Stafford Terrace, Kensington (now known as the Linley Sambourne House Museum), amongst collections of antique porcelain and eighteenth-century furniture, and with a host of artistic visitors such as Henry Irving and Oscar Wilde. Oliver’s own upbringing appears to be influenced by his mother's, as the Messel family were also affiliated with artists and writers and were keen collectors of art, filling their home with textiles, paintings and collections of European and Asian fans from travels abroad. It was amongst such treasures that Oliver, Anne and Linley spent their childhood, in addition to the beauty of Nyman’s extensive gardens. Oliver was schooled at Eton but rather than going up to university was encouraged by family friends, gallery owner Archie Propert and painter and sculptor Glyn Philpot, to attend art school. In 1922 he enrolled at the Slade School of Fine Art in London, where he studied under Henry Tonks. Here, he met the artist Rex Whistler with whom he remained firm friends until Whistler’s death in WW2. Upon leaving the Slade in 1924 Oliver was apprenticed to the studio of portrait artist John Wells, where he learnt various Old Master painting techniques, and met artists such as Jacob Epstein, Augustus John and William Orpen. Whilst at the Slade Oliver developed his interest in Papier Mâché masks, a pastime popular amongst many art students at the time. Whilst apprenticed to artist John Wells several of Oliver’s masks were exhibited at the Claridge Gallery, London, alongside pieces by Whistler and other young artists. These were seen by Serge Diaghilev, director of the Ballet Russes, and Charles B. Cochran, a theatrical producer, both of whom made Oliver offers of work. His first job in the theatre was creating masks for the Ballets Russes’ Zéphyr et Flore, 1925, designed by the French artist Georges Braque, followed by numerous musical revues for Cochran, including Wake Up and Dream!, 1929, with music by Cole Porter. It was during these revues, working with Porter and Noel Coward, that Oliver also began to design headdresses and costumes. In 1932 he was rewarded with his first full commission to design both costume and sets for Helen!, directed by Max Reinhardt. The production design is still celebrated today for its innovative approach and ground-breaking ‘white on white’ aesthetic, which referenced ‘Greek temples, Rococo drapes, Baroque colonnades and Louis XIV carousels’. The success of Helen! led to further offers within the theatre including Reinhardt’s version of A Midsummer Night’s Dream at the Old Vic in 1937, starring Vivien Leigh as Titania and Robert Helpmann as Oberon, the Jean Cocteau play The Infernal Machine in 1940, and Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon, 1950. One of Oliver’s best-known productions during this period was the Russian ballet The Sleeping Beauty, performed by Sadler’s Wells Ballet in 1946 at the Royal Opera House, Covent Garden. Encompassing over 200 costumes and four set changes, Oliver’s romantic designs were celebrated for bringing colour back to post-war London, and variations on his designs are still used today. Additional designs for the ballet included Comus in 1940, for which he was released from war duties, and Homage to the Queen, choreographed by Frederick Ashton and performed in 1953 for the Queen’s coronation. His first opera was in 1940 for Mozart’s Die Zauberflöte at the Royal Opera House, followed by a series of productions at the newly founded Glyndebourne Opera House in Sussex, for which Oliver also designed the proscenium arch. He triumphed in 1956 designing a season of four different productions for their Mozart bicentennial, also providing illustrations for the programme covers. His popularity also spread beyond theatre to film, were he worked on over eight different feature films including Romeo and Juliet, 1936, directed by George Cukor. During a three-month research trip to Italy Oliver collected over 3,000 reference images including postcards of artwork by Piero della Francesca, Giovanni Bellini and Leonardo da Vinci, along with prints and photographs of textiles and architectural features. A production of Gabriel Pascal’s Caesar and Cleopatra, 1946, starring Vivien Leigh and Claude Rains, was celebrated for Oliver’s ability to recreate the opulence and luxury of ancient Egypt under the constraints of wartime rationing. Such was his skill that Vivien Leigh in a letter to Oliver declared that “I have of course told Pascal that nobody in the world must do the costumes except you.” He was later nominated for an Academy Award for his work on his final film Suddenly, Last Summer, 1959; an adaptation of Tennessee Williams’ American Southern Gothic mystery. Having started his artistic career as a portrait apprentice, capturing the faces of family and friends, Oliver continued to develop this practice until the end of his life.  His style is said to have been influenced by Glyn Philpot, the Messel’s family friend who encouraged Oliver from an early age in his pursuit of art and design. His most prolific period came in the 1950s during which he produced over 50 portraits, which were shown in exhibitions in New York, London and Barbados. The exhibitions included both well-known faces and anonymous sitters captured on Oliver’s travels, and a number of these works have entered private collections. He continued to paint after moving to the Caribbean in 1966, capturing society figures and the rich and famous including fashion designer Carolina Herrera and Bianca Jagger. His style remained unchanged throughout his career, using the same soft painterly strokes and subtle palette as in his theatre designs. By far his greatest contribution in addition to theatre and film was Oliver’s interior and architectural designs. Another, much celebrated commission included Rayne shoe shop in Old Bond Street, where he created jewel-like interiors using the same practice of scaled models as his set designs. Other notable interior designs include those for Norwich and Bath Assembly Rooms, Flaxley Abbey in Gloucestershire, Rosehill Theatre in Cumbria and the Reader’s Digest offices in Paris. However, upon moving to Barbados in 1966, Oliver embraced a new career envisioning architectural concepts for private houses, hotels and public buildings, utilising his experience with interior design to furnish them with bespoke items of furniture and textiles. His first project was Maddox, the deserted eighteenth-century plantation house bought by himself and his partner Vagn Riis-Hansen in 1964. The existing building and gardens were remodelled to Oliver’s designs embracing an inherent theatricality with views out to sea. These were framed by terraces and verandas which extended out from the living rooms creating what is often referred to as a Caribbean style of ‘indoor-outdoor’ living. For the woodwork he used a shade of green that is now known as ‘Messel green’ and often associated with the island of Barbados. Oliver was born into a wealthy family; he travelled extensively and was exposed to art and culture from a young age. A privileged youth, his name is often mentioned amongst the ‘Bright Young Things’, for whom costume parties at country houses and jaunts to Europe on a whim became a thing of fable. This informal group included people such as Cecil Beaton (a life-long friend whom Oliver first met at Eton), Lord Berners, Noel Coward, John Betjeman, Harold Acton, Nancy Mitford, Edith Sitwell, Stephen Tennant...

PABLO PICASSO (1881-1973) Visage No. 197 (A. R. 494) Terre de faïence plate, 1963, numbered 151/500, titled, inscribed 'Edition Picasso' and 'Madoura', glazed and painted

This monumental pair of sculptures in "Bardiglio" marble represent Greek Athletes figure , on a cylindrical base . Exaltation of the male strength and beauty, inspired by the trend i...

"Le Nu" is a lithographic invitation signed in the plate which was made for the opening of "Les Dames de Mougins" exhibit in 1963. The inviation comes in a high-end pass-partout with...