Friday, 21 December 2012

London Art Fair Selection 2013

London Art Fair Selection 2013

Here is a little selection of works we will be exhibiting at the London Art Fair in January 2013. We hope you like them and look forward to seeing you there.


Wednesday, 21 November 2012

Tamara de Lempicka

"I was the first woman to paint cleanly, and that was the basis of my success. From a hundred pictures, mine will always stand out." 
Tamara de Lempicka

The Polish Girl
The Polish Girl, circa 1933
 Hand Signed and Numbered Aquatint with Roulette in colour on Chine Colle paper

De Lempicka's cool, crisp and precisely executed works are in many ways at odds with her incredibly turbulent and exotic personal life, which spanned various artistic movements and European countries before finally settling in America. This 'glamour girl' of the art world was indeed a notorious figure not just for her paintings but also for her exciting and bohemian lifestyle. Part of the Parisian roaring 20's set, she was not only an artist, but a socialite from a wealthy Polish family. Her bold and distinctive style was further developed on her move to France and has often been suggested as a softer form of the Cubism movement.


1898 - Berlin-1980 (Polish/American)

The Polish Girl / La Polonaise, circa 1933

Technique: Hand Signed and Numbered Aquatint with Roulette in colour on Chine Colle paper

Paper Size: 45.1 x 36.2 cm / 17.75 x 14.25 in

Plate Size: 34.5 x 26.5 cm / 13.4 x 10.4 in

Additional Information: This work is hand signed by the artist "T. de Lempicka" at the lower right margin,

It is also hand numbered "86/200" at the lower left margin.

The work was printed in a limited edition of 200 impressions in circa 1933.

This aquatint was closely based on Tamara de Lempicka's Oil painting on wood panel "La Polonaise" from 1933 (recorded in the catalogue raisonne as B.182)

The image of a girl, wearing a brightly-colored Polish shawl over her head, looks up from her prayer book. Along with several others, this devotional image, painted on the little mahogany panels of which the artist was so fond, is reminiscent of the art of icons.


Galerie Alain Blondel, Paris (label verso)

Private Collection, New York

Sotheby's New York, March 31, 2007, lot 156

The Hascoe Family Collection of Czech and Modern Art, Greenwich, Connecticut.


1. Alain Blondel, 1999, Catalogue Raisonné de l'Oeuvre Complete deTamara de Lempicka, Lausanne: aux éditions Acatos.

reference: A.151, p. 472

Gioia Mori, 2011, Tamara de Lempicka: La Regina del Moderno, Rome, 2011, p. 361

Tuesday, 6 November 2012

David Hockney

'What an artist is trying to do for people is bring them closer to something, because of course art is about sharing: you wouldn't be an artist if you didn't want to share an experience, a thought.'  David Hockney

Original hand signed and numbered lithograph on Japan Paper

 One of the most important and influential British artists of the twentieth century, David Hockney's work embodies the very essence of 60's Pop Art. His most recent retrospective, 'A Bigger Picture,' at the Royal Academy, showcased a major collection of 150 of Hockney's works spanning his three decades in the art world. Not only famous for his paintings, Hockney has worked with various different media, including photo collages, and most recently creating still life's and landscapes using his iPad.

Paper Size:  75.5 x 52.8 cm / 29.7 x 20.7 in

Image Size: 64 x 52 cm / 25.1 x 20.4 in

Additional Information: This original lithograph is hand signed in pencil by the artist "Hockney" in the lower right margin.

It is hand numbered in pencil "XXX/XXXV" (30/35) next to the signature. It is also dated "71" (1971) in pencil. 

This lithograph was the third plate in the portfolio "Europäische Graphik VII-Englische Künstler" (European Graphic-English Artists) published by Edition Galerie Wolfgang Ketterer with co-operation of the editor Felix H. Man, Munich, 1971
It was printed by Stanley Jones at the Curwen Studios, London,  in a limited edition of 35 impressions on Japan paper and 65 on Arches paper. There were a further artists proofs of respectively 12 for the edition on Japan paper and 18 for the edition on Arches.David Hockney realised this print just after the Grimms illustrations. He, at the time, found that cross-hatching could add a textural variety to his lithographs, a in Lillies 1971, and in the black and white colour versions of Flowers made of paper and ink of the same year. (See illustrations in Hockney, Pleasures of the Senses)

Literature: David Hockney prints 1954-77,  Petersburg Press for the Midland Art Group And the Scottish Arts Council, 1979

Reference: Scottish Art Council 118

Condition: Very Good Condition.

Thursday, 1 November 2012

Maurice Esteve, Bougri, 1974

Maurice Esteve 1904-2001
Culan, Cher 1904-2001(French)

Bougri, 1974, Original Hand Signed and Numbered Lithograph in colours on Arches vellum paper.

Maurice Esteve was renowned amongst the School of Paris artists as one of the leading fathers of the movement Tachisme. Praised for his excellent use of colour, combined with the ability to mix various organic interweaving shapes together on the canvas, Esteve truly embodied this style of French abstract painting during the 40s and 50s. Influenced early on by the works of Cezanne, Esteve later dabbled in various artistic movements, briefly experimenting in Surrealism during the late 1920s. He held his first solo exhibition in 1930. However Esteve was not only a painter but also created textile designs, murals and collages, spanning a wide range of media to express his colours and patterns. In 1970 he was awarded the Grand Prix National des Arts and much of his work can now be seen in the Esteve Museum in Bourges, which was opened in 1987 after Esteve donated many of his works to the French city. 

Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches vellum paper
Paper Size: 52 x 45 cm / 20.5 x 17.7 in
Image Size: 31.5 x 24.5 cm / 12.4 x 9.6
Additional Information: This original lithograph is hand signed in pencil by the artist "Esteve" in the lower right margin. It is hand numbered in pencil "37/50" in the lower left margin.
The work was printed in 1974 in a limited edition of 50 signed and numbered impressions. There were a further 25 artist proofs. This lithograph was later chosen to be one of the 4 prints in G. di San Lazzaro "Hommage à Maurice Esteve".
Literature: Prudhomme-Estève, Monique & Moestrup, Hans. 1986. Maurice Estève. L’Ouvre Gravé. Catalogue raisonné. Copenhague.
Reference: Prudhomme & Moestrup No. 76.
Condition: Excellent condition. Very minor small fold in the lower left corner.

Thursday, 25 October 2012

We would like to share with you this special piece from the Vollard Suite to celebrate Picasso's birthday today! : )

Friday, 19 October 2012

 'Art is nothing but humanized science'. Gino Severini

Gino Severini 1883-1966
Cortona 1883-1966 Paris (Italian)
Composition, 1955

Technique: Original Hand Signed and Numbered Lithograph in colours on BFK Rives paper
Paper size: 55.6 x 38 cm / 21.8 x 14.9 in
Plate size: 48.2 x 32 cm / 18.9 x 12.5 in

This stunning lithograph by Severini demonstrates wonderfully the artists use of colour and composition to create a work that moves all over the paper, giving life to the whole scene. Initially introduced to Futurism by his friends Umberto Boccioni and Giacomo Balla, Severini fully embraced the movements idea of conveying speed and movement within their paintings and used this idea many times to paint various dancers, ball rooms, scenes from busy urban life and the human form in action. This feeling of dynamism within art is so perfectly demonstrated in this lithograph of 1955. During this time Severini returned to many of his early Futurist subjects after experimenting with Divisionism and Cubism during the early 1900s.

This original lithograph is hand signed in pencil by the artist "Gino Severini" in the lower right margin. It is also numbered in pencil "197/200" in the lower left margin. This lithograph was published in a limited edition of 200 signed and numbered impressions by Editore Guilde de la Gravure, Pully Lausanne in 1955.
The paper bears the "Rives" watermark on the lower right margin and the dry stamp of the publisher in the lower left margin next to the numbering. This lithograph was inspired by a pastel drawing.

Gino Severini, Musee National d'Art Moderne, Paris, France, July-October 1967.
VII Biennale dell' incisione italiana contemporanea, presentazione di Roberto Salvini, Opera Bevilacqua La Masa, Venezia, 1-30 July 1968.
Gino Severini en Suisse, by Charles Journet and Pierre Fasel, Chateau de Romont, Romont, 15 july-1st September 1974.
Literature: Meloni, Francesco, 1982. Gino Severini: Tutta L’Opera Grafica. Reggio Emilia: Prandi.
Ref: Meloni 28

Condition: Very Good Condition. One light stain in the bottom margin. 

Wednesday, 10 October 2012

Bacon and Picasso Bullfighting

Dublin 1902- 1992 Madrid (Irish/ British)

Title: Study for a Bullfight - Centre Panel, 1987/1989

Technique: Hand Signed and Numbered lithograph on Arches Vellum paper

Paper Size: 94.5 x 68 cm / 37.25 x 26.75 in

Image Size: 68.5 x 50.5 cm / 27 x 19.9 in

Additional Information: This lithograph is hand signed in pencil by the artist "Francis Bacon" at the lower right margins, and also hand numbered in pencil in the lower left margins "130/180". The work was printed and published in 1989 by Galerie Lelong, Paris in a limited edition of 180 hand signed and numbered impressions. It is based on the centre panel of the oil painting "Triptych 1987" which is now part of the estate of Francis Bacon. However, unlike the oil painting, this lithograph was never printed as part of a triptych but was printed as an individual work.
1.TACOU Alexandre, Francis Bacon: Estampes, Berville Editions
Reference: Tacou 27
2. SEBASTIER Bruno and Batache Eddy. 2012. Francis Bacon : Oeuvre Graphique / Graphic Work, Catalogue raisonné. France: JSC Modern Art Gallery
Reference: Sebastier 25.

 'Picasso is the reason why I paint. He is the father figure, who gave me the wish to paint.'
Francis Bacon

 Bacon, like many British artists of his time, was undoubtedly influenced by the works of Pablo Picasso. From forms of expression to even subjects, Bacon could not escape the allure of Picasso's primitive creations of animals. This work by Bacon demonstrates his own interpretation of a bullfight by using aggressive swirling movements of flesh he evokes the body of the bullfighter. Bare and exposed to the viewer, the bullfighters legs are strongly contrasted with the bright orange and blue background that surrounds him. Compared to Picasso's interpretation of a bullfighting seen below, Bacon's image seems very raw and focused on the human form of the fighter taking on the movements of the bull.
However Picasso's plate is similar to Bacon, in the sense that both use this warm and inviting orange to draw the viewer into the work, then contrasting this with bold black outlines, though Picasso focuses more on the primitive and static movements of the animal rather than the bullfighter himself.

Málaga 1881-1973 Mougins (Spanish)

Title: Bullfighting Scene / Scène de Tauromachie,1957

Technique: Original Stamped, Numbered and Incised Terracotta Ceramic Plate

Diameter: 23 cm / 9 in

Additional Information: This original circular ceramic plate was realised by the artist, Pablo Picasso. It was incised "Edition Picasso/Madoura" and numbered "19/500. It was also stamped  "Edition Picasso/Madoura"This work was conceived on 22 January 1957 and executed in an edition of 500.

In 1946 Picasso in Golfe Juan with his friend Louis Fort, decided to visit the pottery exhibition in Vallauris. He took a particular interest in the Madoura stand and asked to be introduced to the owners - Suzanne and Georges Ramié. They invited him to their Madoura Pottery workshop in Vallauris. There he made three pieces which he left to dry and bake. A year later Picasso returned to see how the pieces had turned out. He was delighted with the quality of the work and asked if he could make more. They agreed and an area of the workshop was arranged especially for him. Immediately, he began to work, inspired by his portfolio of sketches. So began a long and very productive partnership between Picasso and Madoura. The whole Madoura team became part of the creative process. They made sure Picasso had all the materials he needed and assisted in producing perfectly finished works of art. Suzanne Ramié shared her vast experience, teaching him all the secrets of ceramics.The ceramics ranged from vases, sculptures, plaques to even a complete dinner service. The familiar themes included bullfighting scenes, portraits and nature - goats, birds, and fish. In 24 years over 633 pieces were created in limited editions all engraved with the Madoura stamp.

Literature: Ramié, Alain, 1988, Picasso, Catalogue of the Edited Ceramic Works 1947-1971, Madoura.
Reference: Ramie 393

Joan Miro: For the Love of Gaudi

JOAN MIRO 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Gaudi XXI, 1979

Technique: Original Hand Signed and Numbered Aquatint on Arches paper with Collage

Paper Size: 115 x 71,5 cm / 45.2 x 28.1 in

Additional Information: This original aquatint is hand signed in white pencil by the artist "Miro" in the lower right corner of the image.
It is also Hand Numbered in white pencil at the lower left corner of the image "37/50".

 Miró greatly admired Gaudi, the Catalan Modernist architect, considering his work among his sources of inspiration.Today, The Fundació Pilar i Joan Miró holds all the original designs Miro used as a starting point for his Gaudi series, as well as a large number of plates and color proofs. After Miró has established his printing studio in his Son Boter studio in 1975, he was able to start his major project: a series dedicated to the great Catalan architect Antoni Gaudí. The Gaudí series comprises 21 prints in which Miró’s used all conceivable resources, ranging from traditional techniques to the most innovative methods, such as etching, sugar-lift aquatint, carborundum, embossing, and collage. The creative process for this series took place at the Son Boter studio beginning in 1976. The series was printed in Barcelona in 1979, in an edition of 50.
The result of this process is a gallery of images in which the sobriety of the black hues contrasts with the palette of blues, reds, yellows, and greens. All these colours often configure a sort of multi-shaped, uneven grid whose changing geometry suggests the kaleidoscopic, irregular mosaic work used by Gaudí to envelop his architectural elements.

Literature: : Dupin, Jacques, Lelong-Mainaud, Ariane. 2001. Miró Engraver: 1961-1973, Vol. IV. Paris: Lelong/Alan Wofsy Fine Arts.
Reference: Dupin 1080

Thursday, 30 August 2012

 LAPADA Art & Antiques Fair 2012

With just over a month left, the preparations for the LAPADA art and antiques fair are well underway at Gildens Arts Gallery!

The LAPADA Art & Antiques Fair is held annualy Berkeley Square, regarded as the historic heart of the vibrant fine art arena that is Mayfair. Held over 6 days with 95 premiere UK art and antique dealers participating, the fair attracts a wide range of audiences and collectors both locally and internationally, and there are equally a wide range of exhibitors and experts. The wide range of disciplines cover everything from medieval works of art, furniture, contemporary art, jewellery, sculptures and many more.

Quality and authenticity are ensured by the fact that every piece exhibited in the fair is vetted by a team of experts, and exhibitors are under close scrutiny to abide by regulations set by the vetting commitee as members of LAPADA, the UK’s largest trade association for professional art and antiques dealers.

Since its inception in 2009, The LAPADA Art & Antiques Fair has earned its reputation as one of the most important art and antique fairs in the UK. It will be the first major antiques fair of the autumn during London's busy design season, and this year will see the largest LAPADA fair yet with increased floor space (and more exhibitors).

The appeal of the LAPADA Fair lies in its excitingly diverse array of fine art and exceptional objects of all periods, at a wide price range from under £500 to over £500,000, making it an event accessible to those venturing in to buying fine works of art for the first time, as well as serious collectors.

Here at Gilden's Arts Gallery we are incredibly excited to be taking part for the first time at such a presitgious event that provides a platform for our beautiful variety of original prints by the modern art masters such as Picasso, Miro, Dali, Chagall to name a few. This is just one of the many original prints that we will be exhibiting:

Ubu's Childhood, 1975 - Joan Miro
(Hand signed and numbered lithograph)

For more information on the artists we have works by please visit our website The fair will take place from the 19th-23rd september 2012, we look forward to seeing you at our stand (A9)!

The LAPADA website provides information for visitors aswell as a twitter and facebook page. An iphone app for the fair is also available for downloading on the app store, with which you get complimentary invitations for 2 people! (normal entry price is £15).;

Wednesday, 29 August 2012

JOAN MIRO 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Ubu's Childhood / L'Enfance d'Ubu, 1975
Technique: Original Hand Signed and Numbered Lithograph in colours on Arches paper
Paper Size: 32.1 x 50.5 cm / 12.6 x 19.8 in

Additional Information: This original lithograph is hand signed in pencil by the artist "Miro" at the lower right corner of the image. It is also hand numbered in pencil "108/120". The work was part of a portfolio entitled "L'Enfance d'Ubu" (Ubu's Childhood) realised by the artist in 1975. It was printed by Mourlot, Paris and published by Tériade Editeur, Paris. Our print is one of the few impressions realised for the front cover of the portfolio.
Ubu Roi (Ubu the King) is a play by Alfred Jarry, premiered in 1896. It is a precursor of the Theatre of the Absurd and Surrealism. It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices—in particular the propensity of the complacent bourgeois to abuse the authority engendered by success. It was followed by Ubu Cocu (Ubu Cuckolded) and Ubu Enchaîné (Ubu Enchained), neither of which was performed during Jarry's 34-year life.

Père Ubu first appeared in 1888 in a collaboration between Alfred Jarry and a fellow student at the Rennes Lycée, but his first public appearance came in 1893 when Jarry published some of prose works in an avant-garde review, the Minutes de Sable Mémorial. His triumph, however, was on the stage when the director of the Theâtre de l'Oeuvre, Lugne-Poe staged a production of Ubu Roi. The audience received the play with screams, whistles, fist-shaking, the critics took up the cudgels and the play became infamous and its author an avant-garde hero

Joan Miró used Ubu Roi as a subject of his most famous series made of 50 1940 lithographs known as "the Barcelona Series". These pictures could be Ubu Roi but they also satirise General Franco and his generals after he had won the Spanish Civil War.

He revisited this subject many times in in oeuvre.

Literature: 1. Patrick Cramer, Weber Genf, 1992, Miro: The Lithographs, Vol.5.

Reference: Cramer 1014

2. Patrick Cramer, Cramer Edition, 1989, Miro Catalogue des Livres Ilustrés.

Reference: Cramer 204

Saturday, 23 June 2012

MARC CHAGALL 1887-1985
[Shagal, Mark, Zakharovich, Moses]
Vitebsk, Belarus 1887-1985 Saint-Paul-de-Vence, Alpes-Maritimes
Title: The Champs-Elysées, 1954
Hand Signed and Numbered Lithograph on Arches paper
Paper Size: 69.5 x 47 cm / 27.3 x 18.5 in
Image Size: 59 x 42 cm / 23.2 x 16.5 in
Additional Information: This lithograph is hand signed in pencil by the artist "Marc Chagall" at the lower right margin.
The lithograph is also hand numbered in pencil "189/200" at the lower left margin. It is signed in the plate "Marc Chagall" at the lower right corner of the image.
The work was printed by Charles Sorlier based on Chagall's painting of 1952.
It was published in 1954 by Galerie Maeght, Paris in an edition of 200 signed and numbered impressions.
The paper bears the Arches watermark.
The collection of Dr. Gertrude Ticho
The collection of the San Francisco Museum of Modern Art (accession no. UCPS04.31)
Literature: Sorlier Charles, Chagall: Lithographe 1974-1979,  Monte-Carlo: Editions Andre Sauret, 1984.
Reference: Sorlier 6.

Friday, 15 June 2012

Figures / Personnages, circa 1899
Original Hand Signed Charcoal and Colour Crayon Drawing on paper.
21 x 13 cm / 8.3 x 5.1 in

Gilden's Arts Gallery is proud to show this original drawing, hand signed in blue crayon "Picasso" in the lower left of the image.The work is accompanied by a certificate by from Monsieur Claude Ruiz-Picasso dated, le 3 octobre 2011.
The authenticity of this work has kindly been confirmed by Madame Maya Widmaier-Picasso.
The precise date and location in which this artwork  was executed in not known, but the year 1901 was certainly a turning point in Picasso's career and development as an artist.
For the first five months of the year, Picasso lived in Madrid, before moving to Paris to hold an exhibition of sixty four of his works at Ambroise Vollard's Gallery in June 1901. At the age of just nineteen, the show was a huge success for the young artist, but Picasso's money from the proceeds soon ran out, as did his buoyant mood. He descended into a depression which was deepened by the suicide of his close friend Carles Casagemas, whose love interest Picasso had been courting.
He abandoned the bright colours which had dominated the works he had exhibited at Galerie Vollard and turned to a sombre, monochrome palette, often dominated by blue tones. This was to mark the start of his famous Blue Period, during which Picasso would depict the Parisian underclass of gaunt prostitutes, beggars and prisoners. Executed on the precipice of this change in style, the present work however, shows the average person on the street, well dressed and respectable. It is executed though in a reduced palette of browns and blues, and the figures are formed with bold, deft strokes. Picasso captures a sense of movement in the diagonal thrust of his lines, catching the men, women and children as they move about their daily business.

This drawing is very similar in style and techniques to the ones realised by Pablo Picasso from 1900 until 1901. It is known that 11 sketchbooks were realised by Picasso in Barcelona, Paris and Madrid. These sketchbooks are very homogene in style and always represent the same motifs: coffee and street scenes (like in ours), brothels and public places.
The sketchbooks would allow the artist to make notes of ideas, drawings and scenes for his later paintings.

Saturday, 28 April 2012

This our beautiful new acquisition: a hand signed lithograph by Henri Matisse representing Madame Pompadour. She was a beautiful and fascinating woman, a member of the French court, and was the official chief mistress of Louis XV from 1745 to her death.

Wednesday, 28 March 2012

Gilden’s Arts Gallery is proud to present our new exhibition devoted to Marc Chagall (1887-1985), master of form and colours. His incredible combination of colourism and highly personal symbolism makes of Marc Chagall one of the main artists of the 20th Century.
The works by Marc Chagall transport their audience into a dreamlike, fantastical world. Comprised of visions taken from his mind and memory, Chagall’s compositions combine floating lovers and flying beasts in magical compositions that exude charm and beauty.
Chagall’s whimsical, folkloric works demonstrate the importance he placed upon dreams as a source of inspiration, as his subjects are repeatedly seen floating with little regard to the forces of gravity.

“But I had never wanted to paint like any other painter. I always dreamt of some new kind of art that would be different. In Paris, I at last saw as in a vision the kind of art that I actually wanted to create. It was an intuition of a new psychic dimension in my paintings.”

The work below, Banks of Bercy, is an important lithograph, part of a famous series in which Marc Chagall celebrates the French capital.
“Banks of Bercy”, like its fellow pictures in this series, sings with the poetry of Chagall’s unique vision; romance, flowers, a horse, a bird and a cityscape are intertwined in this poetic, dreamlike composition.
Chagall’s relationship with Paris had begun in 1910, when he had gone there on a near pilgrimage, a young artist seeking inspiration from the capital of the Avant-guard. It was there that he had begun to forge his own reputation and his incredible combination of colourism and highly personal symbolism.

View the exhibition's catalogue:

Friday, 9 March 2012

Gilden's Arts Gallery is exhibiting in Art Karlsruhe until Sunday!You are more than welcom to come and visit our 3 exhibitions in stand U08, Halle 1:

- Works on Paper by Modern Master, including rare drawings by Pablo Picasso and Joan Miro

- a rare collection of paintings by the Hungarian avant garde artist Bela Kadar

- an important solo Show by the leading Israeli artist Jacob Gildor.

Sunday, 26 February 2012

Gilden's Arts Gallery is proud to show this new acquisition:
(Emile Benoît) Le Cateau-Cambrésis 1869-1954 Nice
Title: Sitting Nude with Tulle Shirt  / Nu Assis a la Chemise de Tulle, 1925
Original Hand Signed and Numbered Lithograph on Chine paper
Paper Size: 48.9 x 37.5 cm / 14.2 x 11.25 in
Plate Size: 36.5 x 28.6 cm / 19.25 x 14.8 in
Additional Information: This is an original lithograph by Henri Matisse.
It is hand signed in pencil by the artist "Henri Matisse" at the lower right margin.
It is also hand numbered in pencil at the lower right margins "40/50".
This early work was printed by Fernand Mourlot, Paris in 1925 in a small edition of only 50 impressions. There were a further 10 artists' proofs.
Odalisques were the most popular subject of Matisse's Nice period, during the 1920s. They appear in diverse poses: reclining, lounging, seated, or standing, frequently with their arms raised or folded behind the head. Dressed or semi-dressed in exotic attire, they are placed against a decorative background of richly patterned fabrics and oriental rugs and surrounded by oriental accoutrements. Matisse's primary model for these depictions, from 1920 to 1927, was Henriette Darricarrière (born 1901), a young woman skilled in the arts of ballet, piano, violin, and painting who lived near Matisse's studio.
The model's sculpturesque body, languorously stretching on the couch, exudes sensuality and carnality. The mood of "luxe, calme et volupté" is clearly palpable. Yet, contemplating the work, one gets the impression that the artist somehow distanced himself from the erotic content of the picture while leaving the excitement of recognition to the viewer.
The theme of odalisques during Matisse's Nice period is central not only to his prints, but also to his paintings, sculptures and drawings.
Literature: Henri Matisse: Catalogue Raisone de L'oeuvre grav'e, Claude Duthuit, Paris,1983.
Reference: Duthuit 465
ART KARLSRUHE 8-11 March 2012

We are delighted to invite all you to Art Karlsruhe 2012. This is a leading Art fair in Germany, whose focus is Classical Modern and Contemporary Art.

We are going to exhibit there for the 2nd time this year, presenting THREE EXHIBITIONS at stand U08, Hall 1:

- Our collection of Modern Masters, including several important new acquisitions by Chagall, Picasso, Miró, Dalí, Braque, Ernst, Matisse, Bacon, Giacometti, Vlaminck and Kandinsky;

- A solo show with important works by the leading Israeli contemporary artist Jacob Gildor. The exhibition will focus on the theme of the introvert figure which has been central in his works since the early 90s;
- a rare collection of early 20th Century avant-garde masterpieces by the Hungarian artists Béla Kádár and Hugo Scheiber.

Tuesday, 10 January 2012

We will be exhibiting at the London Art Fair from the 18th to the 22nd January 2012, stand G16.
More info at:

 MARC CHAGALL 1887-1985
 Little Peasants II, 1968