Impressionist & Modernism
Date of Creation: 2002
Personal Notes About This Work: A wonderfully talented artist based in Munich, Germany.
Date of Creation: 1906
Material/Medium: Original Etching, in black and white, on Arches paper , 2nd State, circa 1906, signed with a signature stamp Reference : “L’Oeuvre grave et lithographie: Catalogue Raisonee by Loys Delteil - number 16 Stella 16 Note: The First state plate was reduced for the second state. It was published together with Delteil 25 in Ambroise Vollards “Tableau, Pastels et Dessins de Pierre Auguste Renoir” , Paris 1918. This was a theme which Renoir returned to many times in the course of his career. In my view this is one of his most attractive etchings. Size: 247 x 327 mms (Paper size) ; 165 x 223 mms (Plate size) Edition: 900 copies on Arches paper (our example) and 100 copies on Japan Shidzuoka paper Provenance: Columbus Museum, Columbus, Georgia, USA : Sold to benefit the acquisitions fund. Published by: Ambroise Vollard, Paris
Personal Notes About This Work: A Fine example of French Impressionist printmaking
Date of Creation: 1897
Material/Medium: Medium: Original Lithograph, 1897, on thin Chine Volante paper, with large margins, first state of two, unsigned as normal. Verso is a blue rubber stamp “Made in France”. Rector: Hand written in pencil at base of margin : “CEZANNE 46-L/72 Small Bathers Trial proof” Literature: Venturi 1156, Michel Melot : “Les gravures des Impressionistes: Number 8 Jean Cherpin : “L’Oeuvre Grave de Cezanne” published by Arts et Livres de Provence Size: 347 x 445 mms (Paper size) ; 220 x 290 mms (Image size) Edition: Trial proof in black and white. The number of trial proofs made is not known. The edition in colour was of 100 proofs. Note : Cezanne showed little interest in graphics and the only prints he made were due to persuasion by others. It took all the insistence of his friends, Pissarro, Guillaumin and Dr Gachet for him to produce his 5 lithographs. Later it took all the pressure that his dealer, Ambroise Vollard, could exert to persuade him to make three lithographs - two in colours and one in black and white. In December 1897 Vollard published his second “Album des Peintres-Graveurs”. It was more substantial then the first and for that reason it sold for 150 Francs instead of just 100. Among the prints was a lithograph by Cezanne entitled “The Bathers”. It depicted six naked men, one of them standing in the water of a small stream, most of them facing left, in a landscape setting. The lithograph was in colours but there were a few trial proofs in black and white of which ours is an example. There was a larger plate also made of different design.. Provenance: Christies New York, 11/19/1990, Lot 90 (Sold for US$6600) - Their labels verso Ferdinand Roten Galleries, Baltimore (Their label verso) Public Collections: Bibliotheque de L’Institute d’Art et d’Archaeologie, Paris National Gallery of Art, Washington DC
Personal Notes About This Work: A very interesting example of Impressionist art - available for sale
Date of Creation: 1971
Material/Medium: Medium: Original lithograph , November 1971, on velin Arches paper, signed by the artist in pencil Reference: Charles Sorlier “Chagall Lithographe”, 1969/1973 (Catalogue Raisonee number 640 Size: 67 x 49 cms (Paper size) ; 52 x 40.5 cms (Image size) Edition: The edition consisted of 50 artists proofs none of which were numbered. Note: Chagall had created , over the years, a number of greetings cards for his family friends and clients of the Galerie Maeght. These all consisted on a small Original lithograph on the frontispiece with the greetings overleaf. This lithograph exhibits 7 of these cards and has been made using the original stones from which they were produced.
Personal Notes About This Work: A fine example of this important artist's work
Date of Creation: 1933
Material/Medium: Edition : 260 Reference: Bloch 166 ; Ba 319 .B.d Note: The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings. Vollard was one of the greatest art dealers and publishers of his time and his championship of some of the most celebrated artists of the day deserves the thanks of later generations. His artists, to name but a few, included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau, Rouault and Picasso. Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed (with the exception of some rare proofs made on vellum in editions of 3). Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso , would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artists death appear on Vollard Suite etchings. Obviously there is a difference in the artists signature as he aged and the signature on our piece probably dates from circa 1960. In this plate the sculptor is obviously an alter-ego for the persona of Picasso and the woman represents none other then his new love : Marie Therese whose portrait or depiction is often to be found in the Vollard Suite. Published by: Ambroise Vollard Printed by: Lacouriere in 1939
Personal Notes About This Work: A Lovely signed etching from the famous Vollard Suite