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Calder, Blue and Yellow among Reds, 1964. This sculpture is a large scale mobile by Alexander Calder. It's hung from the ceiling and display a cascade of nine wires held by each other each wire is holding flat disc of metal painted in various colors, red, yellow, black, white and blue.

Calder, Blue and Yellow among Reds, 1964
Hanging mobile-painted sheet metal and wire
(200 x 400 cm.) 78 3/4 x 157 1/2 in.
 

Pablo PIcasso, Le Peintre, 6 February 68, 1968. This painting represents the portrait of a painter holding a brush in his right hand.

Pablo Picasso, Le Peintre, 6 February 68, 1968
Oil on panel
131 x 97.7 cm. (51 5/8 x 38 1/2 in.)
©Helly Nahmad Gallery NY

Picasso, Mousquetaire. Buste, 1967

Picasso, Mousquetaire. Buste, 1967
Oil on canvas
73 x 60 cm. (8 3/4 x 23 5/8 in.)
 

Pablo Picasso, Mousquetaire aux Oiseaux II, 13 January 1972, 1972 Oil on canvas 146 x 114 cm. (57 1/2 x 44 7/8 in.)  This painting represents a man wearing a hat and holding a sword, it represents a mousquetaire. There is two birds painted only with one line on the right side of the canvas.

Pablo Picasso, Mousquetaire aux Oiseaux II, 13 January 1972, 1972
Oil on canvas
146 x 114 cm. (57 1/2 x 44 7/8 in.)
©Helly Nahmad Gallery NY

Pablo Picasso, Homme à la pipe et nu couché, 1967 This painting shows a couple fully occupy who the canvas. The man is seated smoking a pipe and the nude woman is laying down.  The overall background is painted in mauve tons we can perceive the large brushstrokes. The figures are painted in white and grey tons and their features are achieved with thick black lines.

Pablo Picasso, Homme à la pipe et nu couché, 1967
oil on canvas
146 x 114 cm. (57 1/2 x 44 7/8 in.)
©Helly Nahmad Gallery NY

Juan Gris_Guitare sur une table_1916

Juan Gris, Guitare sur une table, 1916
Oil on canvas
92.1 x 59.4 cm. (36 1/4 x 23 3/8 in.)
©Helly Nahmad Gallery NY

Fernand Léger, Les femmes à la toilette, 1920 Oil on canvas 92.3 x 73.3 cm. (36 3/8 x 28 7/8 in.) Léger painted 'Les Femmes à la toilette' as the penultimate work in a rare and important sequence of eight canvases done in 1920, half of which are now in museum collections, on the theme of a woman seated at her boudoir table and looking into her mirror, as she attends to her daily toilette.  This painting, in its lively amalgam of contrasting colors and forms.

Fernand Léger, Les femmes à la toilette, 1920
Oil on canvas
92.3 x 73.3 cm. (36 3/8 x 28 7/8 in.)
©Helly Nahmad Gallery NY.

Fernand Léger, Nature Morte, 1927 ​Oil on canvas 130.2 x 88.9 cm. (51 1/4 x 35 in.)  A vertical divide bisects the canvas of Nature morte into two unequally sized sections. The presence of two objects dominates the composition: a squat red pot of flowers on the right hand side, offset on the left by the visible portion of a tall black vase.  The flowers are ostensibly the only organic element in the present composition, yet they appear artificial; like everything else in the painting, their material substance has been reduced and purified, as if tooled and polished by means of a high-tech industrial process. Léger has reinforced the chosen vertical format of this composition by employing numerous straight up-and-down elements, using the curved lines and contours in the flowers, pot and vase to counteract and mitigate the overall geometric rigidity of the composition. By suggesting the presence of a floor or table-top in the foreground, Léger has created an illusion of receding space, into which the graphically flat rectilinear forms that comprise the setting fall into place, establishing the spatial schematic of an interior, with a mirror over a mantelpiece on the right, and a window at left. Contrasting objects both large and small, Léger has affixed his images of two French postage stamps to the axial column near the center of the composition. The painter has emphasized the hardness of his forms by rendering them in an austere palette based on the stark opposition of red and black, mediated in places by pale yellow, supplemented with two diagonally opposed patches of an earthy mauve tone. There are tensions of all kinds within this canvas--nonetheless, the architectural grandeur of Léger's overall conception steadies the composition and expresses a transcendent vision of stasis and serenity.

Fernand Léger, Nature Morte, 1927
Oil on canvas
130.2 x 88.9 cm. (51 1/4 x 35 in.)
©Helly Nahmad Gallery NY

Jean Dubuffet, L'Accueillant, 1973. The present work was a maquette for a work that was originally part of a monumental group of five characters titled Welcome Parade, destined to populate the entrance of the new wing of the National Gallery of Art in Washington, D.C. The building's architect, I.M. Pei, had requested Dubuffet be invited to conceive of and install this artwork, but it was never realized for reasons that are still unclear.

Jean Dubuffet, L'Accueillant, 1973
Epoxy paint on polyurethane
81.3 x 43.2 x 30.5 cm. (32 x 17 in. x 12 in.)
©Helly Nahmad Gallery NY

Lucio Fontana, Concetto Spaziale, 1966 ​Waterbased paint on canvas with multiple holes (green) 100 x 81 cm. (38 3/8 x 31 7/8 in.) This painting only features one color a rich clover green.  The shape of the canvas is a horizontal rectangular shape, an oval circle occupies most of the canvas it is slightly delineated with a thin line barely visible produced with a tip.  The circle is perforated by multiple small holes, arranged in fifteen horizontal lines contained inside the oval shape.

Lucio Fontana,Concetto Spaziale (66-B-14), 1966
Waterbased paint on canvas with multiple holes (green)
100 x 81 cm. (38 3/8 x 31 7/8 in.)
©Helly Nahmad Gallery NY

Picasso, Guitare (Guitar), 1918 Oil and sand on canvas 54 x 65 cm. (21 1/4 x 25 5/8 in.) ©Helly Nahmad Gallery NY. This beautiful painting by Picasso depicts a guitar. To depict the wooden body of the guitar Picasso filled the area with real sand. Around the guitar and in the center of the canvas Picasso painted a false frame in the shape of an hexagon with six sides, which makes the work interesting, as it represents a painting noting inside the canvas. On top of this false hexagon frame is a small circle as if this internal painting was actually hung inside the canvas we are looking at. The tons are warm as the background of the canvas is painted in a bright yellow. Regarding the framing device surrounding the guitar, the left side is black and the right side is a rich reddish brown. This is a beautiful co position featuring geometric and prismatic shape to depict this instrument.

Picasso, Guitare (Guitar), 1918
Oil and sand on canvas
54 x 65 cm. (21 1/4 x 25 5/8 in.)
©Helly Nahmad Gallery NY

Joan Miró, Femme et Oiseau, 1967.In Femme et oiseau, a black painted wooden crate is pierced with a bright yellow pitchfork, next to which sits a ball painted a vibrant red. Miró's use of bright primary and secondary colors for each component emphasized the individuality of each of the elements, setting them aside from the whole. In the present sculpture, femininity and fertility are represented by the red ball; in other works, it is an egg or a stone. The beak of the bird is possibly represented. by the green cone-lie element and the pitchfork is a wing or a plume.

Joan Miró, Femme et Oiseau, 1967
Painted bronze
264 x 85 x 48 cm. (103.9 x 33 1/2 in. x 18 7/8 in.)
©Helly Nahmad Gallery NY

Fernand Léger, Objets dans l'espace, 1931

Fernand Léger, Objets dans l'espace, 1931

Oil on canvas
73 x 92 cm. (28 3/4 x 36 1/4 in.)
©Helly Nahmad Gallery NY

Giorgio de Chirico, Mobili Nella Valle, 1927

Giorgio de Chirico, Mobili Nella Valle, 1927

Oil on canvas
97 x 130 cm. (38 x 51¼ in.)
©Helly Nahmad Gallery NY

Matta_dar a luz un mundo_1960

Roberto Matta, Dar a Luz un Mundo (Giving birth to a world), 1960
Oil on canvas
200 x 300 cm. (82.5 x 121 in.)
©Helly Nahmad Gallery NY
 

Jean Dubuffet, Groupe de Quatre Arbres (État Définitif), 1970  96 x 100 x 87 cm. (37 7/8 x 39 x 34)  Epoxy paint on polyurethane, in 4 parts  ©Helly Nahmad Gallery NY. The present work, Group of four trees from 1970 belongs Dubuffet's acclaimed Hourloupe cycle series from 1962 to 1974. The works created during this period resemble familiar objects and forms and yet these works recall a fantastical parallel universe where the line between the real and the imaginary is blurred. The figures and objects of the Hourloupe cycle all emulate an existing reality or an everyday object. Dubuffet referred to them as a reflection of the tangible as it appears in the mind. It is in this context that one should experience Group of four trees.

Jean Dubuffet, Groupe de Quatre Arbres (État Définitif), 1970
96 x 100 x 87 cm. (37 7/8 x 39 x 34)
Epoxy paint on polyurethane, in 4 parts
©Helly Nahmad Gallery NY

Lucio Fontana, Concetto spaziale, Attesa (64 T 101), 1964. This painting is covered of a red surface and has one large and straight vertical cut in the middle

Lucio Fontana, Concetto spaziale, Attesa (64 T 101), 1964
Waterpaint on canvas
55.5 x 46.5 cm. (21 ¾ x 18 3/8 in.)
©Helly Nahmad Gallery NY

Alexander Calder, Crag with Petals and Yellow Cascade,1974.  This sculpture is part of Calder Stabile series which is known as revolutionary gesture in the sculpture history as its getting rid of the pedestal. "Crag with Petals and Yellow Cascade” features two undulating metal stems balanced in the cavities and peaks of this mountainous form, disrupting the dense and static plinth and allowing light polychromatic elements to swirl and catch the air. ⁣

Alexander Calder, Crag with Petals and Yellow Cascade, 1974
Sculpture: Stabile: Sheet metal, rod, wire and paint
196.9 x 197.5 x 162.6 cm. (77.5 x 77.75 in. x 64 in.)
 © 2019 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Joan Miró,  Femmes et Oiseaux dans la nuit, 1968.  This abstract painting by Joan Miro features a poetic visual vocabulary made of dots, thick curvy black lines, scribbles. The overall colors are primary tons of red, blue, green, yellow tons.

Joan Miró, Femmes et Oiseaux dans la nuit, 1968

Oil on canvas
145 x 113 cm. (57 x 44 1/2 in.)
©Helly Nahmad Gallery NY

Alexander Calder, Black II, 1949. Elegantly standing as though poised on tiptoe, Alexander Calder’s Black II is an exquisite example of the artist’s innovative combination of sculptural dynamism and grace. Comprised of dynamic upward arcs of red metal planes that pierce through a sunny yellow disk before culminating in a carefully balanced arm supporting a floating arrangement of multicolored discs, Black II incorporates many of the iconic motifs that Calder used throughout his career. With this particular form, Calder successfully incorporates both the graceful movement that he pioneered in his groundbreaking mobiles together with the more substantial nature of his mature postwar work.

Alexander Calder, Black II, 1949
Painted sheet metal and wire
101.6 x 83.8 x 45.7 cm. (40 x 33 in. x 18 in.)
© 2021 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Alexander Calder, Untitled, 1948 Hanging mobile—sheet metal, wire and paint 134.6 x 182.8 x 63.5 cm. (53 x 72 in. x 25 in.)  Untitled, 1948, offers a graceful and harmonious composition held by a single wire. Floating polychromatic elements, resembling the distant sight of birds, gently revolve in their own trajectories when caught by the air. These movements are held by a delicate anchor, offering a point of orbit and balance to this elegant composition.

Alexander Calder, Untitled, 1948
Hanging mobile—sheet metal, wire and paint
134.6 x 182.8 x 63.5 cm. (53 x 72 in. x 25 in.)
© 2021 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Joan Miró, Oiseaux devant le soleil, 1978 ​Oil on canvas 116 x 89 cm. (45 5/8 x 35 in.) This painting by Miro features a rich sky blue background achieved with large visible brushstrokes.  On the upper left side of the canvas there is a bright coral circular shape we can distinguish each line that forms it. It seems the gesture was rapid when producing it.  The center of the piece features two thick vertical lines, two dots are placed on top  of them and one large dot on the bottom right, close tot he signature

Joan Miró, Oiseaux devant le soleil, 1978
Oil on canvas
116 x 89 cm. (45 5/8 x 35 in.)
©Helly Nahmad Gallery NY

Alexander Calder, Haute Couture, 1976

Alexander Calder, Haute Couture, 1976
Sculpture: Painted sheet metal
117 x 74 x 51 cm. (46 x 29 in. x 21 1/4 in.)
© 2020 Calder Foundation, New York / Artist Right Society (ARS), New York. 

Joan Miró, Femme à la voix de rossignol dans la nuit, 1971. Oil and acrylic on canvas 129.7 x 194.3 cm. (51 1/8 x 76 1/2 in.) Femme à la voix de rossignol dans la nuit presents some of Joan Miró’s most characteristic themes on a dramatic scale and with grand simplicity of means. Birds, women and the night had, since the very beginning of his career, constituted some of the most poetic ingredients of Miró’s universe.  In Femme à la voix de rossignol dans la nuit the black parts give structure and rhythm to the composition: the form on the left is counterbalanced by the section with the star on the right, while three vertical lines divide the vast canvas into three chromatic fields.

Joan Miró, Femme à la voix de rossignol dans la nuit, 1971
Oil and acrylic on canvas
129.7 x 194.3 cm. (51 1/8 x 76 1/2 in.)
©Helly Nahmad Gallery NY

Georges Braque, Guitare et journal: STAL (recto); Femme à la mandoline (verso), 1913 gouache, charcoal and pencil on board 28 x 42 cm. (11 x 16 1/2 in.) This still life uses an oval shaped composition built with geometric lines and arcs. This compositions employs words, letters and numbers as active pictorial elements. We can read on the upper right the words STAL and Telephone.

Georges Braque, Guitare et journal: STAL (recto); Femme à la mandoline (verso), 1913
Gouache, charcoal and pencil on board
28 x 42 cm. (11 x 16 1/2 in.)
©Helly Nahmad Gallery NY
 

Max Ernst, A Maiden, a Widow and a Wife, 1966.  Championing dreams and intuition in the making of his works, Ernst invented the “Frottage” technique, placing paper over textured material to achieve different patterns on the canvas. He also made landscape a major theme in the Surrealists endeavors.⁣⠀ “A Maiden, a Widow and a Wife,” offers a compelling example of these three elements, with the coarse surfaces of its red transfigured, organic shapes delineated from a soothing blue and green background.⁣ Ernst’s arcane and powerful imagery resonates in its ability to transmute an ordinary landscape into a mysterious sight.⁣⠀

Max Ernst, A Maiden, a Widow and a Wife, 1966
Oil on canvas
92 x 76 cm. (36 1/4 x 30 in.)
©Helly Nahmad Gallery NY