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Gouache, 1953

screenprint

signed, numbered and dated

an edition of 300

64 x 49 cm

 

 

 

 

This work comes from the 1953 portfolio "Art d'Aujourd'hui. Maîtres de l'art abstrait", published by Andre Bloc.

 

It  contained sixteen screenprints, all reproductions after paintings. It was published in an edition of 300 but it is doubtful that all 300 were executed.

 

1. Hans Arp. Constellation. 1928. -

2. Giacomo Balla. Peinture futuriste. 1924. -

3. Robert Delaunay. Rythme/3. 1938

4. Sonja Delaunay. Gouache. 1950. 

5. Albert Gleizes. Composition. 1945. 

6. Auguste Herbin. Fou. 1953. 

7. Wassily Kandinsky. Gris. 1931. 

8. Paul Klee. Musique diurne. 1940. 

9. Frantisek Kupka. Une absolue. 1952. 

10. Francois Léger. Epoque mécanique. 1919. 

11. Alberto Magnelli. Opposition. 1942.

12. Piet Mondrian. Composition. 1921. 

13. Francis Picabia. Petite solitude au milieu des soleils. 1915.

14. Sophie Taeuber-Arp. Quatre espaces à croix brisée. 1932.

15. Theo van Doesburg. Composition. 1924.

16. Jacques Villon. Petite peinture cubiste. 1921. 

 

 

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Gouache, 1953

£0.00 available - ask

screenprint

signed, numbered and dated

an edition of 300

64 x 49 cm

 

 

 

 

This work comes from the 1953 portfolio "Art d'Aujourd'hui. Maîtres de l'art abstrait", published by Andre Bloc.

 

It  contained sixteen screenprints, all reproductions after paintings. It was published in an edition of 300 but it is doubtful that all 300 were executed.

 

1. Hans Arp. Constellation. 1928. -

2. Giacomo Balla. Peinture futuriste. 1924. -

3. Robert Delaunay. Rythme/3. 1938

4. Sonja Delaunay. Gouache. 1950. 

5. Albert Gleizes. Composition. 1945. 

6. Auguste Herbin. Fou. 1953. 

7. Wassily Kandinsky. Gris. 1931. 

8. Paul Klee. Musique diurne. 1940. 

9. Frantisek Kupka. Une absolue. 1952. 

10. Francois Léger. Epoque mécanique. 1919. 

11. Alberto Magnelli. Opposition. 1942.

12. Piet Mondrian. Composition. 1921. 

13. Francis Picabia. Petite solitude au milieu des soleils. 1915.

14. Sophie Taeuber-Arp. Quatre espaces à croix brisée. 1932.

15. Theo van Doesburg. Composition. 1924.

16. Jacques Villon. Petite peinture cubiste. 1921. 

 

 


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Sonia Delaunay was born in 1885 into a poor Jewish family in the Ukrainian village of Gradizhske and adopted by her wealthy aunt and uncle in Saint Petersburg at an early age. There she had a privileged upbringing and was introduced to the art museums and galleries around Europe, before taking up studies at the Académie de la Palette in Paris. Her early work as a painter was influenced by the vibrant colours of the Post-Impressionists and the Fauves, yet it was not until her marriage to the artist Robert Delaunay in 1910 and their subsequent founding of Orphism that she became one of the central figures in the 20th century avant-garde movement.

The term Orphism derives from the legendary Greek musician Orpheus and was coined by the poet and art critic Apollinaire as a way of highlighting the harmonious qualities of colour sought by its founders. The sense of movement and rhythm created by certain simultaneous contrasts of colour became Sonia Delaunay’s principal concern, not just on the canvas but through textiles, clothes, interior design and accessories – all of which allowed her to explore her aesthetic theories while fusing modernist art and daily life in an unprecedented way.

After spending some time in Portugal in 1914 Delaunay and her family lived in Madrid. Here she met Sergei Diaghilew for whose ‘Ballets Russes’ she designed the costumes and the stage sets. She returned to Paris after the end of World War I, where she made the sets for Dadaist plays and films. In 1925 she opened Maison Delaunay, the same year that the Exposition des Arts Décoratifs et Industriels Modernes in Paris finally brought her designs to a wider audience. Maison Delaunay was visited by the likes of Gloria Swanson, the actress, and the heiress Nancy Cunard. Delaunay’s designs were so much a part of the everyday that she even decorated a Citroen B12.

After the invasion of Paris, the Delaunays fled to Montpellier where, her husband, stricken with cancer, died in 1941. On her own for 38 more years, Sonia Delaunay continued to push the boundaries of decorative art, while overseeing the legacy of her husband.  In 1964 she became the first living female artist to be given a retrospective at the Louvre in Paris. She died in 1979 aged 94, happy for having, in her words, ‘lived my art’.

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Denise Rene Greetings Composition, 2010

lithograph

numbered

the cover sheet has been signed by Denise Rene

an edition of 400

numbered in pencil

27 x 21 cm

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Denise Rene Greetings Composition, 2010

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lithograph

numbered

the cover sheet has been signed by Denise Rene

an edition of 400

numbered in pencil

27 x 21 cm


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Composition, 1970

screenprint in colours

signed, numbered and dated

on ARCHES paper

an edition of 95

76 x 60 cm

 

This work was published by Editions Michael Vokaer, Brussels

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Composition, 1970

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screenprint in colours

signed, numbered and dated

on ARCHES paper

an edition of 95

76 x 60 cm

 

This work was published by Editions Michael Vokaer, Brussels


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Cibles, 1970

lithograph

signed and numbered

76 x 60 cm

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Cibles, 1970

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lithograph

signed and numbered

76 x 60 cm


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Untitled, 1963

lithograph in colours

on wove paper

signed and numbered

an edition of 45

42 x 30 cm

 

THIS IS A RARE WORK FROM THE EARLY 1960S. MOST OF THE PRINTS COME FROM THE 70S.

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Untitled, 1963

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lithograph in colours

on wove paper

signed and numbered

an edition of 45

42 x 30 cm

 

THIS IS A RARE WORK FROM THE EARLY 1960S. MOST OF THE PRINTS COME FROM THE 70S.


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Rayonist Composition, 1957

screenprint

signed, numbered and dated

an edition of 100

66 x 50 cm

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Rayonist Composition, 1957

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screenprint

signed, numbered and dated

an edition of 100

66 x 50 cm


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Composition, 1970

lithograph

signed and numbered

an edition of 75

60 x 76 cm

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Composition, 1970

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lithograph

signed and numbered

an edition of 75

60 x 76 cm


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Rhythms, 1972

lithograph

signed and numbered

an edition of 75

60 x 76 cm

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Rhythms, 1972

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lithograph

signed and numbered

an edition of 75

60 x 76 cm


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£0.00
sold

Composition, 1970

lithograph

signed and numbered

76 x 60 cm

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Composition, 1970

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lithograph

signed and numbered

76 x 60 cm


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£0.00
sold

Composition, 1970

lithograph

signed and numbered

66 x 50 cm

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Composition, 1970

£0.00 sold

lithograph

signed and numbered

66 x 50 cm


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£0.00
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Composition, 1970

lithograph

signed and numbered

an edition of 75

50 x 66 cm

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Composition, 1970

£0.00 sold

lithograph

signed and numbered

an edition of 75

50 x 66 cm


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