Clerice Frères

Claudine/Theatre du Moulin Rouge

1910

Grasset, Eugene. Belle Jardinaire. Proof for the Calendar, "Belle Jardinaire",1896, on China paper produced for the month of December. 12 7/8 x 9 7/8"

Grasset, Eugene."Belle Jardinaire," Proof for the calendar "Belle Jardinaire" 1896. On China paper produced for the month of August, 12 7/8 x 9 7/8"

LOUIS J. RHEAD (1858-1926) THE BOOKMAN / CHRISTMAS NUMBER. Circa 1895. 19x11 1/2 inches, Dodd, Mead & Company, New York. Color Lithograph. Good condition. No rips or tears or folds. Good color. Framed. Ref: Das Plakat...

Venise sauvee, play in five acts by Thomas Otway. 1895. Lithograph on simili Japan Framed. .Very good condition with the exception of a slight center fold. Framed. Rare Ref: Artis...

Anonymous. The Photo Miniature series of Monographs on Photography For sale here. Tennant. Ca 1898. Color lithograph. 20 ¼ x 12 ½ inches. Lovely Turn of the Century poster...

Le Soleil de Minuite. 1898. Color lithograph. On Linen A Student of Jules Cheret, he created posters between 1895 and 1905 in the workshop Chaix produced ...

First edition, from the edition of 250 copies on Vélin d’Arches from a total edition of 270; large 4to (42.2 x 32 cm); artist’s signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase. Giacometti’s testament to art and modern life in his beloved Paris. For Tériade it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, Paris sans fin, however, said too much to the eye to be in need of other symbols (James Lord...

Original vintage Danish poster: ODENSE, DENMARK. THE NATIVE TOWN OF HANS CHRISTIAN ANDERSEN. Great condition original. Linen backed origina...

BAC (Ferdinand Bach), 'Yvette Guilbert, Tous les Soirs SCALA', vintage color lithograph, 1893. Signed, dated, and titled in the stone. A superb, richl...

Denis-Paul NOYER Hotel: Mercedes Cabriolet T290 & Palais de la Mediterranee Original lithograph, c. 1980 Handsigned in pencil Numbered / 115 copies On Arches vellum 75 x 105 cm (c. ...

CHARPENTIER, ALEX (1856 -1909) "Grande Tuilerie d’Ivry" Original lithograph from "Les Maitres de L'Affiche" series Printed by Imprimerie Chaix, Paris Bearing MDL stamp lower right, issue # 33, 1898. Plate #131 Unframed Size: 11 3/8 x 15 3/4”The "Les Maitres de l'Affiche" series was offered as a subscription series to collectors every month for 60 months, from December 1895 through November 1900. The "Maitres de l'Affiche," were issued as separate numbered sheets, referred to as "plates". They were numbered, with the printers name "Imprimerie Chaix," in the margin at the bottom left hand corner, "PL.1" to "PL.240." In the margin at the bottom right hand corner of each, is a blind embossed stamp from a design of Cheret's. The smaller format and the fact the "Maitres" were a paid subscription series, allowed Imprimerie Chaix to use the latest state of the art printing techniques, not normally used in the large format posters due to cost. A very high quality of paper was used, where as the large format posters were printed on lesser quality newsprint, due to cost and a short expected life span. This explains why the quality of the printing, in the "Maitres de l'Affiche," usually far exceeds that of their larger counterparts. The text reads "Great Tileworks of Ivry, founded in 1854, Ivry-Port near Paris; the largest ceramics factory in the world for building, industry and art productions; Emille Muller stoneware; execution of works by masters of statuary; architectural facings; decorative sculpture; showroom and salesroom, 3 rue Halevy; the only tile able to bear the names Muller and Ivry; (tiles) guaranteed against frost" Given the commission for an extremely text heavy poster, the artist executes a masterful design. The angelic young boy holds the wares of this famous ceramics factory, against an abstract background awash in organic green hues. The handling of the immense text that flows from top to bottom in every available space shows great artistic skill, as the overall beauty of the design is intact. In 1989 the Metropolitan Museum of art acquired a stoneware plaque...

TOULOUSE-LAUTREC, HENRI DE (1864-1901) "FEMME AU TUB" (Woman with Tub) From the series, “Elles”, c. 1896 Wittrock 159, Adhemar 204 From the edition of 100; per Wittrock Original color crayon brush and splatter lithograph, five colors, printed on wove paper Printed without margins to deckled edge of paper Bearing Artist’s Monogram Stamp...