Frantz Charlet

La Tétée de la Mère et ses Enfants - Etching by F. Charlet - Early 1900

Early 1900

Figures in the Landscape is an original artwork realized by Jules Adrian Flour in 1916. Original etching on paper. The artwork is glued on cardboard. Hand-signed in pencil by the ar...

Very fine print on verge crème. Some small traces of oxidation, dust and some flowerings on external edges of sheet, otherwise excellent conditions. Full margins. Ref. Wentworth 50.

Signed on plate. From the portfolio “Le Bonheur du Jour” by George Barbier. Etching and Pochoir. Passepartout included : 49 x 34 cm

Beautiful print on verge crème, 2° state on 3, with letters printed in red. Stamp “Lugt 1545”. Little crack and fold on lower left margin of the sheet. Some small traces of oxidati...

Two Figures is an Original etching monotype realized by Edouard Chimot. The artwork is in good condition on the yellowed paper, included a cardboard passpartout (51x35 cm). Hand-si...

Signed and dated on plate. An early state on the 5 issued, with very fresh impression and marked contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNei...

Chatter by Orovida Pissarro (1893-1968) Etching 26 x 19 cm (10 ¹/₄ x 7 ¹/₂ inches) Signed and dated lower right Orovida 1927 Inscribed lower left Trial proof no. 18/25 and titled lower middle Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Man & Beast by Orovida Pissarro (1893-1968) Etching 27 x 22 cm (10 ⁵/₈ x 8 ⁵/₈ inches) Signed and dated lower right, orovida 1924 Inscribed lower left, Final state no 12/40 and titled lower centre Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Polychrome etching and sugar-lift aquatint. Signed lower right, 'Ruth Weisberg' (American, born 1942) and dated 1967; additionally titled, lower center, 'Joseph Dreamed a Dream' and...

Curves by Orovida Pissarro (1893 - 1968) Etching, trial proof no. 54 20.2 x 15 cm (8 x 5 ⅞ inches) Signed and dated lower right, Orovida 1919 Inscribed lower left Trial proof no. 54 ...

Max Klinger, 'Erinnerung (Remembrance)', etching and aquatint, 1896. A fine, richly inked impression, on off white, wove paper, with full margins (1 3/4 to 3 1/8 inches), in excellen...

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch...