Edouard Benedictus

'Variations, 2' — 1920s French Art Deco Pochoir

1923

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...

Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...

Boris Lovet-Lorski, Untitled (Nike), lithograph, edition 250, 1929. Signed and numbered 1 in pencil. Number 1 of Volume 1, a series of 10 lithographs in each of 2 portfolios, publish...

Wood engraving, 1930, edition small, Physick 642 / 643. Initialed in pencil. Two blocks printed on a single sheet: fine impressions on cream laid Japan with full margins (1 1/2 to 2...

Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...

Boris Lovet-Lorski, 'Untitled (Profile of a Black Woman)', lithograph, edition 250, 1929. Signed and numbered 14 in pencil. Number 14 of Volume 2, a series of 10 lithographs publishe...

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

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., ...

Original fashion illustration for Tres Parisien, December, 1921 Moroccan Crepe Dress by Germaine-Paule Joumard, Fashion Art Deco Pochoir on Chinese Paper. Artwork size is 7.5 by 5 i...

Robe Grise Pochoir (silk screen) printed in colors, 1923 Signed by the artist in pencil lower right (see photo) The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Two spots in the upper left corner associated with the printing. 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...