High-quality edition on prestige paper. Motif size approx. 60 x 44 cm. Sheet size 70 x 50 cm (H/W). Framed in a black solid wood frame, dustproof glazed with passe-partout. Format approx. 76 x 56 cm (H/W).
High-quality edition on prestige paper. Motif size approx. 60 x 44 cm. Sheet size 70 x 50 cm (H/W). Framed in silver-coloured solid wood framing, dust-proof glazing with passe-partout. Format approx. 77 x 57 cm (H/W).
High-quality edition on prestige paper. Motif size approx. 60 x 44 cm. Sheet size 70 x 50 cm (H/W). Framed in a black solid wood frame, dustproof glazed with passe-partout. Format approx. 76 x 56 cm (H/W).
High-quality edition on prestige paper. Motif size approx. 60 x 44 cm. Sheet size 70 x 50 cm (H/W). Framed in silver-coloured solid wood framing, dust-proof glazing with passe-partout. Format approx. 77 x 57 cm (H/W).
Today, Giacometti's 'Striding Man' adorns the Swiss 100-franc note. These typical stone lithographs were edited in 1975 for the announcement of a major Giacometti retrospective at the Fondation Maeght in Paris.2 Lithographs: 'Dessin I (Large and Small)' and 'Dessin II (Striding Man)' in a model frame, each 79 x 59 cm with bevelled mat, glazed.
Today, Giacometti's 'Striding Man' adorns the Swiss 100-franc note. This typical stone lithograph was published in 1975 for the announcement of a major Giacometti retrospective at the Fondation Maeght in Paris. Lithograph in model frame with bevelled mat, glazed. Format 79 x 59 cm (H/W).
Today, Giacometti's 'Striding Man' adorns the Swiss 100-franc note. This typical stone lithograph was edited in 1975 for the announcement of a major Giacometti retrospective at the Fondation Maeght in Paris.lithograph in model frame with bevelled mat, glazed. Format 79 x 59 cm (H/W).
Alexander Calder created this impressive work for the 'L'alfabeto di BolaffiArte' cycle initiated by the 'Club of 5000'. With powerful strokes, he draws the striking contours of a reclining, sleeping man, from whose upright head the letter to be illustrated flows. Calder understands the situation as a visible sign of life and freedom, because without the air to breathe there is no life, and without freedom, without the space to develop one's own personality, a life worthy of human beings is impossible. Photolithograph in three colours, signed by the artist, numbered on the reverse. Limited edition of 5,000 copies. Sheet size approx. 29.8 x 23.5 cm (H/W). Framed in silver-coloured solid wood frame with bevel cut passe-partout, glazed. Format 45 x 36 cm (H/W).
Alexander Calder created this impressive work for the 'L'alfabeto di BolaffiArte' cycle initiated by the 'Club of 5000'. With powerful strokes, he draws the striking contours of a reclining, sleeping man, from whose upright head the letter to be illustrated flows. Calder understands the situation as a visible sign of life and freedom, because without the air to breathe there is no life, and without freedom, without the space to develop one's own personality, a life worthy of human beings is impossible. Photolithograph in three colours, signed by the artist, numbered on the reverse. Limited edition of 5,000 copies. Unframed. Sheet size approx. 29.8 x 23.5 cm (H/W).
Known and famous for his moving wire sculptures and metal constructions, the so-called mobiles and stabiles, the American sculptor Calder was also a convincing graphic artist. He was inspired in his work by friends such as Hans Arp and Marcel Duchamps and claimed that he created 'Mondrians that move'. Alexander Calder was particularly interested in playing freely with shapes and colours in his graphics. The preoccupation with dynamics and geometry in the sculptures and mobiles thus finds its counterpart on the picture surface. The cheerfulness, lightness and humour that characterise the rest of his oeuvre can also be discovered in his works on paper. High-quality screen print on heavy laid paper. Elegant framing in black silk matt with Munich gold and passe-partout, dust-proof glazing. Format approx. 68 x 88 cm (H/W).
The human face in many variations - mostly in strong, even bright colours - had already been a focal point of his work. With the abstract heads, his 'holy heads', he became more restrained in terms of colour and reduced the subject of the portrait to the face itself. They appear de-individualised without losing any of their expressive power and, in progressive abstraction, lead to an icon-like form, which in their sequence seem like a search for an unattainable divine archetype.Original: oil on cardboard and wood, private collection. Reproduction on aluminium dibond behind 3 mm thick acrylic glass. Format 60 x 45 cm (H/W). With hanging device. Due to the smooth surface, mirror effects may occur depending on the incidence of light.
The human face in many variations - mostly in strong, even bright colours - had already been a focal point of his work. With the abstract heads, his 'holy heads', he became more restrained in terms of colour and reduced the subject of the portrait to the face itself. They appear de-individualised without losing any of their expressive power and, in progressive abstraction, lead to an icon-like form, which in their sequence seem like a search for an unattainable divine archetype.Original: oil on cardboard, on permanent loan from the Baumgart-Möller Collection, E.-L. Kirchner Foundation, Davos, Kirchner Museum. Reproduction on aluminium dibond behind 3 mm thick acrylic glass. Size 60 x 45 cm (H/W). With hanging device. Due to the smooth surface, mirror effects may occur depending on the incidence of light.
Jawlensky moved from Lake Geneva to Zurich in 1917. There he returned to still lifes as well as portraits. Original: 1918, oil on paper, 34.4 x 25.3 cm, private collection. Edition transferred directly onto artist's canvas using the fine art giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handcrafted, black and gold-coloured solid wood frame. Size 51 x 40 cm (H/W). ars mundi exclusive edition.
Alexej von Jawlensky remained true to his unmistakable style of painting with this picture, created in Murnau around 1908, with its bright and pure colours and high-contrast, large-scale painting style. 5-colour facsimile print on 270g Rives laid paper. Limited edition of 1,000 copies. In silver-coloured solid wood framing, glazed. Format 52 x 64 cm (H/W).
Alexej von Jawlensky, whose contact with Kandinsky brought him into the circle of the 'Blue Rider', was initially known for his strongly coloured portraits. They later developed into paintings of clear, geometric contours in which he combined the abstraction of Cubism with the mysticism of old Russian piety. Edition transferred directly onto artist's canvas using the fine art giclée process and stretched onto a stretcher frame. Limited edition of 499 copies, numbered, with certificate. Framed in a handcrafted, black and gold-coloured solid wood frame. Format 55 x 49 cm (H/W). ars mundi exclusive edition.
Jawlensky's portraits combine the abstraction of Cubism with the mysticism of old Russian piety. Original: 1926, oil on cardboard, 59.7 x 48 cm. Louise and Walter Arensberg Collection, Museum of Art Philadelphia, USA. Edition transferred directly onto artist's canvas using the fine art giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handcrafted, black and gold-coloured solid wood frame. Size 59 x 52 cm (H/W). ars mundi exclusive edition.
High-quality reproduction on LuxoArt velvet paper. Motif size 46 x 39 cm (H/W). Sheet size 60 x 46 cm (H/W). Framed in black silver solid wood framing with bevelled passe-partout, glazed. Format 66 x 59 cm (H/W).
High-quality reproduction on LuxoArt velvet paper. Motif size/sheet format 60 x 46 cm (H/W). Framed in black silver solid wood framing with bevelled passe-partout, glazed. Format 66 x 53 cm (H/W).
High-quality reproduction on LuxoArt velvet paper. Motif size 46.5 x 35.5 cm (H/W). Framed in black silver solid wood frame with bevelled mat, glazed. Size 66.5 x 55.5 cm (H/W).
Original: 1930, oil on cardboard, 42.5 x 32.3 cm, inv. no. M 217 Wiesbaden, Museum Wiesbaden. High-quality fine art giclée museum edition on artist's canvas made of cotton. Limited edition of 980 copies, numbered on the reverse with certificate. Mounted like a painting on a stretcher frame and framed with a fine gallery frame in black silk matt with Munich gold. Format approx. 52 x 41 cm (H/W). ars mundi exclusive edition.
In the history of art, the still life has always been an important subject that represents the fundamental artistic thinking of the respective painter. This remained the case in the late 19th and early 20th centuries. However, it was no longer about the artistically detailed depiction of reality, but about a presentation of the painterly approach itself. Jawlensky put it in a nutshell in 1905: 'My friends, the apples, which I love because of their lovely red, yellow, purple and green clothes, are no longer apples for me on this or that background. High-quality reproduction in fine art giclée process, hand-painted on canvas and stretched on stretcher frame. With visible linen structure. In handcrafted solid wood museum framing in white with gold edging, grey patina. Limited edition of 499 copies. Format 78 x 64 cm (H/W). Exclusively at ars mundi.
Amedeo Modigliani was one of the absolutely exceptional artists at the beginning of the 20th century. Few succeeded in creating such an unmistakable visual language as the Italian painter and sculptor. He made the elongated torsos and mask-like faces his typical unique selling point. Modigliani also used this characteristic style in this work. Original: 1918, oil on canvas, 81 x 54 cm, Musée d'Art Moderne De Paris, Paris. Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handcrafted, black and silver-coloured solid wood frame. Format 70 x 46 cm (H/W). ars mundi exclusive edition.
Amedeo Modigliani was one of the absolutely exceptional artists at the beginning of the 20th century. Few succeeded in creating such an unmistakable visual language as the Italian painter and sculptor. He made the elongated torsos and mask-like faces his typical unique selling point. Modigliani also used this characteristic style in this work. Original: 1918, oil on canvas, 81 x 54 cm, Musée d'Art Moderne De Paris, Paris. Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handcrafted, silver-coloured solid wood frame with black shadow gap. Format 68 x 43 cm (H/W). ars mundi exclusive edition.
