Kiss of Love by Erté (ca 1983)

Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From Love and Passion Suite. DETAIL
Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From  Love and Passion Suite.
Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. [Detail]

Erté (Romain De Tirtoff, Russian/French, 1892-1990) color serigraph on paper with silver, gold, and red foil embossing titled “Kiss of Fire” from the artist’s Love and Passion Suite, numbered 61/300, published circa 1983. Depicts a partially nude male and a female couple in profile standing on a gold surface and dressed in red, orange, and purple flowing garments and headdresses reminiscent of flames, their arms resting on each other’s shoulders, against a black background with a black circular pattern embossed above. Numbered in white pencil, lower left below image, signed “Erte” in white pencil, lower right below image. | quoted from Case Fine Arts & Antiques

Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From  Love and Passion Suite.
Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From the artist’s Love and Passion Suite.
Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From  Love and Passion Suite.
Erté (Romain De Tirtoff) :: Kiss of Fire, ca. 1983. From the artist’s Love and Passion Suite. (Close up) | Case Fine Arts & Antiques

Queen of the Night by Erte

Erté (Romain De Tirtoff, Russian-French, 1892-1990) :: Color serigraph with silver and gold foil embossing titled "Queen of the Night", numbered "PP 1/1", 1985. (DETATIL)
Erté (Romain De Tirtoff) :: “Queen of the Night”, 1985 (detail) | src Case Antique Auctions
Erté (Romain De Tirtoff, Russian-French, 1892-1990) :: Color serigraph with silver and gold foil embossing titled "Queen of the Night", numbered "PP 1/1", 1985.
Erté (Romain De Tirtoff, Russian-French, 1892-1990) :: Color serigraph with silver and gold foil embossing titled “Queen of the Night”, numbered “PP 1/1”, 1985.

This publisher’s proof depicts the Queen of the Night from “The Magic Flute” opera by Wolfgang Amadeus Mozart, with four attendants holding the hem of her elaborate gown against a black background, surrounded on the left, bottom, and right edges by a gold star border. Numbered, in chalk, lower left, signed “Erté”, in chalk, lower right. Merrill Chase, Chicago, IL, gallery label, en verso. Housed under glass in a giltwood frame with a black linen liner with a giltwood fillet. Property of Milligan University, Milligan, Tennessee. source: Case Antique / Case Auctions

Erté (Romain De Tirtoff, Russian-French, 1892-1990) :: Color serigraph with silver and gold foil embossing titled "Queen of the Night", numbered "PP 1/1", 1985.
Erté (Romain De Tirtoff, Russian-French, 1892-1990) :: Color serigraph with silver and gold foil embossing titled “Queen of the Night”, numbered “PP 1/1”, 1985.

Francesca and the birch-tree

Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Victoria Miro Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Victoria Miro Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Victoria Miro Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. (detail) | Victoria Miro Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. (detail) | Victoria Miro Gallery
Francesca Woodman (1958-1981) :: Self-portrait, birch sleeves. Silver print. | Swann Galleries
Francesca Woodman (1958-1981) :: Self-portrait, birch sleeves. Silver print. | Swann Galleries
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | src Christie’s
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | The New Yorker
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Tate Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Victoria Miro Gallery
Francesca Woodman :: Untitled, MacDowell Colony, Peterborough, New Hampshire, 1980. | Victoria Miro Gallery

Shells and design, late 1970s

Karel Vaca :: Dívka s Mušlí (Girl with a shell), 1980. Vintage movie poster, offset print. Movie directed by Jiří Svoboda. | src Zezula
Karel Vaca (1919-1989) :: Dívka s Mušlí (Girl with a shell), 1980. Vintage movie poster, offset print. Movie directed by Jiří Svoboda. | src Zezula
Cymatium spengleri Perry. From "The shell: five hundred million years of inspired design" by Hugh Stix and Marguerite Stix, 1979. | src equator on IG
Cymatium spengleri Perry. From “The shell: five hundred million years of inspired design” by Hugh Stix and Marguerite Stix, 1979. | src equator on IG

Beatrice Wood, Mama of Dada

Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center for the Arts
Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center for the Arts

“My life is full of mistakes. They’re like pebbles that make a good road.” ~ Beatrice Wood

Beatrice Wood (1893-1998), 1908 | src Beatrice Wood Center fot the Arts, also on Wikimedia

“There are three things important in life:

Honesty, which means living free of the cunning mind.
Compassion, because if we have no concern for others, we are monsters.
Curiosity, for if the mind is not searching, it is dull and unresponsive.”

~ Beatrice Wood

Beatrice Wood (1893-1998) | Photo by Tony Cunha | src Beatrice Wood Center for The Arts

Beatrice Wood, aka the “Mama of Dada” was born into a wealthy San Francisco family in 1893. Defying her family’s Victorian values, she moved to France to study theater and art. On the brink of WWI, her parents brought a reluctant Beatrice back to New York, where her mother did everything within her power to discourage her plans for a career on the New York stage. Despite this, Beatrice’s fluency in French led her to join the French National Repertory Theater, where she played over sixty ingénue roles under the stage name “Mademoiselle Patricia” to save her family’s name and reputation.

Wood’s involvement in the Avant-Garde began in these years with her introduction to Marcel Duchamp and later to his friend Henri-Pierre Roché, a diplomat, writer and art collector. Roché, a man fourteen years her senior, joined the duo, becoming creatively (and romantically) entangled. Together they wrote and edited The Blind Man (and the Rongwrong magazine), a magazine that poked the conservative art establishment and helped define the Dada art movement.

Marcel Duchamp brought Beatrice into the world of the New York Dada group, which existed by the patronage of art collectors Walter and Louise Arensberg. The Arensbergs’ home became the center of legendary soirees that included leading figures of the time including Francis Picabia, Mina Loy, Man Ray, Charles Demuth, Joseph Stella, Charles Sheeler and the composer Edgard Varèse.

Beatrice Wood’s career as an artist of note began when she created an abstraction to tease Duchamp that anyone could create modern art. Duchamp was impressed by the work, arranging to have it published in a magazine and inviting her to work in his studio. It was here that she developed her style of spontaneous sketching and painting that continued throughout her life.

Following the formation of the Society of Independent Artists in 1917, Beatrice exhibited work in their Independents exhibition. [text extracted from Wikipedia entry and Beatrice Wood Center for the Arts]

Toni Catany’s Tulips

Toni Catany :: Tulipes ~ Tulips, 1980. MNAC ~ Museu Nacional d’Art de Catalunya via Flickr
Toni Catany :: Tulipa ~ Tulip, 1980 (tiratge 2000). Gelatinobromur de plata sobre paper baritat. | src MNAC ~ Museu Nacional d’Art de Catalunya

Toni Catany’s still-lifes

Toni Catany :: El tassó ~ The Bowl, 1979. Calotip (collotype). | src MNAC ~ Museu Nacional d’Art de Catalunya
Toni Catany :: Natura morta ~ Still life, 1981. Gelatinobromur de plata sobre paper baritat. | src MNAC ~ Museu Nacional d’Art de Catalunya
Toni Catany (1942 – 2013) :: Homenatge a Sudek, 1986. | src MNAC ~ Museu Nacional d’Art de Catalunya
Toni Catany :: El mantó ~ The shawl, 1979 (tiratge 1995) Calotip (Collotype). | src MNAC ~ Museu Nacional d’Art de Catalunya

Mapplethorpe’s still-lifes

Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Orchids). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Gypsophila). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Araceae). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Tulips). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Lilies). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Brodiaea). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984. Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Lily). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Roses). Photogravure on handmade paper. | src Städel Museum
Robert Mapplethorpe :: Untitled, from the series: Flowers, 1983 – 1984 (Tulip). Photogravure on handmade paper. | src Städel Museum

Águila · Minotauro · Sixto

Flor Garduño :: Caballero Águila [Eagle Knight], 1986. Gelatin silver print, printed 1992, signed, titled, dated and notation ‘1769’ in pencil on the verso. | src Bonhams · Auction 04·2022
Flor Garduño :: Minotauro, México, 1984. | src Flor Garduño
Flor Garduño :: El tío Jorge, Bolivia, 1990. | src Flor Garduño
Flor Garduño :: Sixto, Bolivia, 1990. | src Flor Garduño