Raymond Peynet Art

"Combat Equestre" is an original lithograph by Claude Weisbuch. The artist signed the piece lower right and wrote the edition number (24/100) in the lower left. This piece depicts mu...

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...

Lithograph on cream wove paper with a large, modern geometric watermark, 10 x 9 5/8 inches (255 x 245 mm), the full sheet. Signed, dated and numbered 4/25 in pencil in the lower right.

Titled 'Polo' and signed 'Louis Claude' in pencil below the image. Printed in Paris for the Paris Etching Society, New York. 465mm by 595mm (pla...

This sensuous and playful scene is characteristic of Oldenburg’s printmaking ouevre: a veritable heap of women displaying various expressions of ecstasy and repose. The loose sketches were drawn directly onto the plate by the artist, a master draftsman whose erotic etchings are largely unknown. The composition is based on the drawing: Clinical Study, Towards a Heroic-Erotic Monument in the Academic/Comic Style, 1965, ball-point pen on paper, 20 x 40 in. / 60 x 101.6 cm. *This print was etched in six gorgeous inks, each in an edition of ten: take your pick of color!* Oldenburg had an interest in imaginary monuments: he famously conceptualized works such as “Ball”, an unbuilt monument conceived of in 1967 which imagined two ballcocks – the round mechanism in a toilet tank...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. The Enchantress with the baby Rapunzel references a Heironymus...

This etching from David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio depicts the somewhat obscure story Old Rinkrank, which Hockney chose to illustrate beca...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel, which he chose for its popularity. When illustrating the princ...

Artist: Marc Chagall (Russian, 1887-1985) Title: From the suite "Les Fables De La Fontaine" Year: 1927 Medium: Original etching Edition: fom...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

The frontispiece for Hockney’s Six Fairy Tales from the Brothers Grimm portfolio and book features Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to ...