Victor Max Ninon

Robe Grise

1923

Coquette Pochoir (silk screen) printed in colors, c. 1923-1925 Signed by the artist in pencil lower right; numbered in ink on the image, (see photo) Edition: 250 (100/250) in pencil in image (see photo) Image size: 10-1/2 x 12-3/4" The artist won a gold medal in Paris in 1925 for his porchoirs Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artist won a gold medal in Paris in 1925 for his porchoirs Condition: excellent Image size: 11 1/2 x 13 inches Sheet size: 20 x 25 3/4 inches The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Condition: Excellent, never matted or framed Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

En Espagne Pochoir (silk screen) printed in colors Signed by the artist in pencil lower right The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Excellent Image size: 11-1/2 x 13" Sheet size: 19 1/2 x 24 3/4"; The artist won a gold medal in Paris in 1925 for his porchoirs The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Signed, dated, and editioned in pencil by the artist Edition:30, plus trial proofs; this print numbered 23/30 Printed by Edmond Desjobert, Paris Provenance: Estate of the artist The image is loosely based on the tragic love story of Frankie and Johnny, memorialized in Jazz, Blue, Country, Rock a Billy and Motown. At least 256 recordings of "Frankie and Johnny" have been made since the early 20th century. Inspired by a traditional song first recorded by The Leighton Brothers in 1912. Among the artist who have recorded the varying versions of the song are Gene Autrey (1929), Jimmie Rodgers (1929), Lead Belly (1939), Lena Horne (1946), Les Paul and Mary Ford (1952), Sammy Davis Jr. (1956), Pete Seeger...

Portrait de petite fille, en buste, cheveux sur les epaules (Ellen 14 ans) Portrait of a little girl, bust, hair on shoulders) Drypoint, 1902 Signed lower right corner Very small edition Portrait of the artist's daughter Ellen, at age 14. Title inscribed into the plate upper left Brilliant impression full of burr No stated edition, proofs only, less than 10 imps Unidnetified collector's mark verso: Initials "PH", not in Lugt Reference: Laran, IFF No. 390 Condition: Excellent Image/Plate eize: 14 3/4 x 12 5/8 inches Sheet size: 25 x 16 inches "Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second Impressionist Exhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. Following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style. When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note. Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they became popular fixtures. On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved a revelation. In Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints. Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged him to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, like Monet, refused to participate. Paul Helleu Sketching with His Wife (1889), by John Singer Sargent, The Brooklyn Museum, New York In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography of Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Past as the painter Elstir. (Later, Helleu engraved a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to expand his career as a portrait artist to elegant women in the highest ranks of Paris society, portraits that provide the basis for his modern reputation. His subjects included the Duchess of Marlborough, the Marchesa Casati, Belle da Costa Greene, Louise Chéruit, and Helena Rubinstein. Looking for new inspiration, Helleu began a series of paintings and color prints of cathedrals and stained glass windows in 1893, followed by flower studies and landscapes of parks in Versailles. Helleu took up sailing, owning four yachts over his life. Ships, harbor views, life at port in Deauville, and women in their fashionable seaside attire became subjects for many vivid and spirited works. In 1904, Helleu was awarded the Légion d'honneur and became one of the most celebrated artists of the Edwardian era in both Paris and London. He was an honorary member in important beaux-arts societies, including the International Society of Painters, Sculptors, and Engravers, headed by Auguste Rodin, and the Société Nationale des Beaux-Arts. On his second trip to the United States in 1912, Helleu was awarded the commission to design was the ceiling decoration in New York City's Grand Central Terminal. He decided on a mural of a blue-green night...

America's Mom II (Small Leticia) Lithograph, 2016 Signed and numbered in pencil by the artist Series: America's Family II (Four images) Edition: 40, of which 20 were retained by the artist This imp 33/40 Printer: James Reed...

GAMY and MONTAUT, Ernest. Cycles Motos Alcyon. [Paris: Mabileau & Co., c. 1914]. Hand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x 49.2cm. The Gamy-Montaut ...

GAMY and MONTAUT, Ernest. L’Allumage Moderne. Magneto Lavalette Eisemann. [Paris: Mabileau & Co., c. 1910]. Hand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x ...

GAMY and MONTAUT, Ernest. La Voiture Th. Schneider, 1912 gagne à Dieppe Dinant et à la Sarthe vitesse et régularité / Magneto Bosch Corburateur Claudel Roues Riley. Mabileau & Co., ...

GAMY and MONTAUT, Ernest. Grand Prix de l’A.C.F. 1913 (Motocyclettes), 1er. Greame Fenton sur autocyclette CLEMENT - PNEU DUNLOP - Carburateur Longuemare bougie Eyquem. Mabileau & ...

Edouard Benedictus, 'Variations, plate 10' from the portfolio 'Variations Quatre-Vingt-Six Motifs Décoratifs en Vingt Planches', color pochoir, edition not stated, 1923. Signed in the matrix, in the left bottom margin. A superb, painterly impression, with fresh, vivid colors and metallic silver, on heavy, cream wove paper with margins (1 to 1 3/4 inches). A repaired tear in the center left margin, not affecting the image, in good condition. Archivally sleeved, unmatted. Image size 14 3/8 x 11 9/16 inches; sheet size 17 3/8 x 13 7/8 inches. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Published by Éditions Albert Levy, Librairie Centrale des Beaux-Arts, Paris. Collections: Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Victoria and Albert Museum. Additional works from this suite of vibrant Art Deco floral designs are available from Keith Sheridan LLC...

Le Bonheur du Jour by George Barbie (Nantes, 1889 - Paris, 1932) is an artwork realized in 1929. Original colored pochoir on cardboard. Perfect conditions. Le Bonheur du Jour is...