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Cocteau, Manuscrit, Souvenirs et Portraits d'Artistes (after)
1972

$895

£675.87

€773.81

CA$1,263.97

A$1,379.96

CHF 723.45

MX$16,760.11

NOK 9,034.78

SEK 8,531.24

DKK 5,775.64

About the Item

Lithograph on vélin d'Arches paper. Paper Size: 12.81 x 9.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Souvenirs et Portraits d'Artistes, 1972. Published by Éditions A. C. Mazo et Cie., Paris, in collaboration with Léon Amiel, éditeurs, New York; printed by Mourlot Frères, Paris, April 5, 1972. Excerpted from the album (translated from French), This album is the album of friendship, and I want to thank all the artists who wanted to participate. Some lithographs presented here, and whose authors have left us for too long, were made at my request for an album "Adieu à la rue de Chabrol" that I intended to publish ten years ago. So it was at this time that I was able to get the lithos of Braque, Cocteau, Derain, Giacometti and Villon. Mrs. Duthuit-Matisse and her brothers authorized me to print the composition of Henri Matisse, an unused original lithograph of the album by Tériade "La Religieuse portugaise". I am happy to have brought together so many works by contemporary artists, it is a great honor for me and I am infinitely grateful to them. Finished printing in Paris on April 5, 1972, this album was printed on vélin d'Arches, in DCCC numbered examples. In addition, a number of copies were printed for artists, friends and collaborators of this album. The original lithographs were printed by Mourlot, and the typography is from Fequet and Baudier. Alain A.C. Mazo, Paris, and Léon Amiel, New York, publishers. JEAN COCTEAU (1889-1963) was a French poet, playwright, novelist, designer, film director, visual artist and critic. Cocteau’s artistic practice was closely tied to his roles as an instigator and patron of the visual and literary French avant-gardes, as well as a socialite. Born into a cultured, bourgeois Parisian family, Cocteau belonged to an influential social network that also introduced him to important developments in modern art. In particular, during the years 1910–12, Cocteau met the writer André Gide, the aristocratic patron of modern painting and music Count Etienne de Beaumont, and the socialite and patron Misia Sert. Through Sert, he was introduced to the experimental world of the Ballets Russes, run by Sergei Diaghilev, which included the renowned dancer Vaslav Nijinsky as well as the composer Igor Stravinsky. In 1912 Cocteau became involved in the conception and staging of many groundbreaking Ballets Russes productions. His most celebrated early work, Parade, was conceived during a trip in Italy with Pablo Picasso, and was staged by Diaghilev at the Paris-based Théâtre du Châtelet in May 1917. The ballet was a modernist fusion of the arts, bringing together a scenario by Cocteau, the music of Erik Satie, sets and costumes by Picasso, and choreography by Léonide Massine. Among Cocteau’s subsequent theatrical collaborations were Le Boeuf sur le toit, a short musical farce with music by Darius Milhaud and sets by Raoul Dufy that premiered in 1920, and Les Mariés de la Tour Eiffel, with a collective score by the group of young composers known as Les Six (Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre) and designs by Jean Hugo, staged by the Ballets Suédois in 1921. By the 1920s Cocteau’s writings and drawings, which he had started making around 1917, played a key role in modernism’s return to classical themes. Like many other artists and poets during this time period, he demonstrated a renewed interest in Catholicism spearheaded by the philosopher Jacques Maritain. In 1925 Cocteau’s first major drama, Orphée, a synthesis of antiquity and modernism, fantasy and reality, reached the stage in Paris. The following year Cocteau published Le Rappel à l’ordre: discipline et liberté, the title of which has come to stand for the general trend toward classicism in the arts of the 1920s. From 1925, Cocteau stayed for extended periods in Villefranche-sur-Mer. There, he established connections with many artists and patrons living in the south of France and began to incorporate Mediterranean imagery into his work. With the financial backing of art patron Charles de Noailles, in 1930 Cocteau directed his first film, Le sang d’un poète, which marked the beginning of a long-lasting engagement with this medium. Though Cocteau was recognized as a prominent artist later in his life, he never stopped collaborating with more emerging talents, including the actor Jean Marais, who gained fame after starring in Cocteau’s 1946 movie adaptation of La Belle et la bête, and the painter Raymond Moretti. In 1953, Cocteau served as president of the jury of the Cannes Film Festival and continued to work in film until late in his life; his final movie, Le Testament d'Orphée, was produced by François Truffaut in 1960. In 2020, a panting by Jean Cocteau, Judith et Holophern, sold for $178,111 USD at Vermot & Associates, setting a world record for the artist.

Creation Year:

1972

Dimensions:

Height: 12.81 in (32.54 cm)Width: 9.81 in (24.92 cm)

Medium:

Lithograph

Movement & Style:

Modern

After:

Jean Cocteau (French)

Period:

1970-1979

Condition:

Gallery Location:

Southampton, NY

Reference Number:

$716 Sale Price

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1970s Modern Abstract Prints

Materials

Lithograph

Joan Miró
Joan Miro - a plate from L'Issue Dérobée, 1974

$2,647

Joan Miro - L'Issue Dérobée - Original Aquatint

By Joan Miró

Located in Collonge Bellerive, Geneve, CH

Joan Miro - L'Issue Dérobée - Original Aquatint 1974 Dimensions: 36 x 54 cm Edition: 220 Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187) Biography Joa...

Category

1970s Modern Abstract Prints

Materials

Lithograph

$9,500

Cocteau, Manuscrit, Souvenirs et Portraits d'Artistes (after)1972

About the Item

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1972

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