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Jacques Villon, Intimacy, from Prints from the Mourlot Press, 1964 (after)1964
1964
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About the Item
This exquisite lithograph after Jacques Villon (1875–1963), titled Intimite (Intimacy), from the album Prints from the Mourlot Press, exhibition sponsored by the French Embassy, circulated by the Traveling Exhibition Service of the National Collection of Fine Arts, Smithsonian Institution 1964–1965, originates from the 1964 edition published by Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C., and printed by Mourlot Freres, Paris, October 27, 1964. This lithograph reflects Villon’s refined Cubist sensibility and lyrical abstraction, balancing geometric harmony and chromatic depth in a composition that evokes both structure and emotion. It exemplifies his lifelong pursuit of transforming the rigor of Cubism into a visual language of rhythm and light.
Executed as a lithograph on velin d'Arches paper, this work measures 10 x 7.5 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the exceptional craftsmanship of Mourlot Freres and highlights Villon’s enduring influence on 20th-century abstraction and modern printmaking.
Artwork Details:
Artist: After Jacques Villon (1875–1963)
Title: Intimite (Intimacy), from the album Prints from the Mourlot Press
Medium: Lithograph on velin d'Arches paper
Dimensions: 10 x 7.5 inches (25.4 x 19.05 cm)
Inscription: Signed in the plate and unnumbered as issued
Date: 1964
Publisher: Fernand Mourlot, Paris, in collaboration with the Embassy of France, Washington, D.C., and the Smithsonian Institution, Washington D.C.
Printer: Mourlot Freres, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From the album Prints from the Mourlot Press, published by Fernand Mourlot, Paris, 1964
Notes:
Excerpted from the album, This exhibition is a manifestation of Franco-American friendship and we would be very happy if it is of interest to all those who visit it. I wish to thank Mrs. Annemarie Pope for proposing and organizing this exhibition of the work of the artists who have used our press. We are honored that Mr. Herve Alphand, Ambassador of France to the United States, and Mr. Edouard Morot-Sir, Cultural Counsellor at the French Embassy in New York, will sponsor this exhibition. I express to them my thanks and appreciation. As for the artists themselves, who executed the originals contained in this catalogue, I can only say simply, "Thank you." They are all friends. We would have liked to include not just the twenty-four illustrations in this small book, but many more. During the year 1963, we lost three great artists who were faithful friends of our press. Thanks to Mrs. Georges Braque, Mr. Louis Carre, and Mr. Edouard Dermit, who have been able to pay our respects to Georges Braque, Jacques Villon and Jean Cocteau. The great Henri Matisse is also with us, since Mrs. Du-thuit-Matisse and her brothers have allowed us to use an unpublished original lithograph. Thanks to them all for their generosity. —Fernand Mourlot. The lithography at Mourlot printing press by Jean Adhemar, Curator of prints at the Bibliotheque nationale. Acknowledgments, Fernand Mourlot has long been the acknowledged master printer of France in every field, from lithographs to fine books to posters. The unfailing quality of his work commands the respect of museums, collectors, and most important of all, the artists themselves. Every product of his workshop bears the mark of Mourlot's discipline and craft and can truly be called an ideal collaboration between artist and artisan. The result of years of thoughtful planning, this special exhibition presents an accurate portrait of the Mourlot Press. We are greatly indebted to Fernand Mourlot, who made the selection, supervised the production of the catalogue, and gave endless time and energy to the details of preparation. This album was finished in Paris on 27th October 1964. The original lithographs and the reproductions were printed on the presses of Mourlot. The Imprimerie Nationale, Director Andre Brignole, was responsible for the typography. The edition has been limited to MM examples on Velin d'Arches and CC on Velin de Rives, reserved for the artists, the staff and the friends of the Imprimerie Mourlot.
About the Publication:
Prints from the Mourlot Press, published in Paris by Fernand Mourlot in 1964 in collaboration with the Embassy of France and the Smithsonian Institution, celebrated the profound artistic partnerships that defined 20th-century printmaking. The portfolio accompanied a traveling exhibition organized by the Smithsonian’s National Collection of Fine Arts and presented at major institutions across the United States between 1964 and 1965. Containing twenty-four original lithographs by leading modern artists—including Pablo Picasso, Henri Matisse, Georges Braque, Joan Miro, Marc Chagall, Alexander Calder, Fernand Leger, Jacques Villon, and Jean Cocteau—the publication chronicled the collaborative artistry of Mourlot Freres, whose Paris workshop elevated lithography to a fine art. Each plate demonstrated the mastery of color, composition, and craftsmanship that defined postwar printmaking, while the edition itself stood as a symbol of Franco-American cultural exchange.
About the Artist:
Jacques Villon (1875–1963) was a French painter and printmaker whose pioneering fusion of Cubism, color theory, and lyrical abstraction made him one of the key architects of modern art. Born Gaston Emile Duchamp in Damville, France, he was the eldest brother of Marcel Duchamp and Raymond Duchamp-Villon, and together they became one of the most influential artistic families of the 20th century. Adopting the pseudonym Jacques Villon, he carved out an independent identity as a visionary who bridged the analytical rigor of Cubism with the emotional freedom of abstraction. After moving to Paris in the 1890s, Villon immersed himself in the avant-garde circles of Montmartre and later the Puteaux Group—also known as the Section d’Or—alongside Fernand Leger, Francis Picabia, Jean Metzinger, Albert Gleizes, and his brother Marcel. Influenced by Paul Cezanne and working in creative dialogue with contemporaries such as Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, and Man Ray, Villon sought to reconcile scientific order and spiritual beauty through geometry, rhythm, and color. His early mastery of etching and aquatint earned him acclaim as a printmaker, while his paintings from the 1910s onward—such as Portrait of Marcel Duchamp (1913), The Rider (1914), and Composition Abstraite (1919)—demonstrated a unique Cubist lyricism characterized by transparent planes, interlocking forms, and a prismatic use of light. Over the following decades, he transformed Cubism’s intellectual structure into a radiant, harmonious abstraction that anticipated mid-century lyrical and color field painting. Like Kandinsky and Miro, Villon believed that art could evoke music’s spiritual depth through pure form, while his chromatic harmonies inspired later artists such as Sonia and Robert Delaunay, Nicolas de Stael, Hans Hartung, and Victor Vasarely. Recognized internationally, Villon exhibited at the Venice Biennale, the Museum of Modern Art in New York, the Tate in London, and the Centre Pompidou in Paris, and in 1956 received the Grand Prize for Painting at the Venice Biennale for his lifetime achievements. His influence extended far beyond painting—his geometric precision and luminous palette shaped later movements including lyrical abstraction, Op Art, and postwar modernism. A deeply poetic thinker, Villon merged intellect and emotion, science and beauty, transforming mathematical order into visual harmony. His art remains celebrated for its timeless grace, uniting the logic of Cubism with the lyricism of color. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Jacques Villon is remembered as a central figure in the evolution of modern art—a master whose elegant compositions continue to inspire collectors and creators worldwide. His highest auction record was achieved by Composition (Abstraction) (1919), which sold for 2.7 million USD at Sotheby’s, New York, on November 7, 2018, reaffirming his legacy as one of the most refined, visionary, and collectible artists of the 20th century.
Jacques Villon Intimite Intimacy Prints from the Mourlot Press Fernand Mourlot Paris 1964 lithograph Cubism Modernism.
- Creation Year:1964
- Dimensions:Height: 10 in (25.4 cm)Width: 7.5 in (19.05 cm)
- Medium:
- Movement & Style:
- After:Jacques Villon (1875-1963, French)
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216977432
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